JOSEPHINE BAKER 33CS 2 (-55) UK

One of those American success stories. Born as a misbegotten child in Missouri 1906 and started working for white households in St Louis as very young. Left school at age 12 and lived on the streets for a few years before being recruited to various vaudeville revues in St. Louis and on Broadway. Moved to Paris 1925 and became an instant success leading to a star role in Folies Bergéres. Most of the early fame came from her erotic dancing, performed more or less in the nude, but she also acted in movies and recorded a number of big hits. By the thirties she'd became one of the leading names is show-biz, a position she kept well into the sixties. There's a lot more to say about her, but thats enough for here. Very often these early 10 inch contained transfered '78 cuts and worked as compilations, but according to back cover text all recordings were newly made for the issue. Side one has re-makes of some old numbers, while side two are contemporary songs. The vocals are lovely, soft and really touching. Audio is very fifties, smooth and cozy. I'm listening while I write this, reminiscing and getting a pleasant vintage feeling. Probably an original UK issue, can't find any corresponding ones from anywhere else. The back cover text is both in French and English, so it may also have been meant for export. I've seen this on the net as first issued 1960, but that's impossible. The "R/T" tax code combined with the cover design place it right in the mid-fifties. (FÄV*)(NYFÖ*)(CLÄZ*) (GZÅ*)

KING CRIMSON/IN THE WAKE OF POSEIDON ILPS 9127 (-70) UK

For this league of gentlemen it's impossible to give some kind of brief introduction without missing important parts so I wont even try. If You don't know about them already, here's an OK link - http://en.wikipedia.org/wiki/King_Crimson . Through the period 1969-74 they issued seven studio LP:s, all varying in styles and settings - psych, art-rock, prog, rock, jazz - tied together by high quality ideas, top performances and Robert Fripp's unrivaled guitar play. This was their second. After first album "In The Court Of The Crimson King" and following touring the band broke up leaving Robert Fripp and Peter Sinfield as only remaining members. Greg Lake had already left for Emerson Lake & Palmer but was bribed with some audio equipment to participate. Michael Giles agreed to return for this recording only, also bringing his brother Peter - in a way making it the last "Giles, Giles & Fripp" pursuit. Other supporting musicians were Mel Collins, Gordon Haskell and Keith Tippett. It wasn't favoured by all critics at arrival and got some criticism for being a copy of the first. Listening to it today from a wider perspective it's more of a transition album, having both synth driven psych numbers as on ITCOTCK and ingenious prog leading to "Lizard" and further development. I've always thought the debute was good but hugely overrated, so my favs on this are the ones showing the new side of the group - "Cat Food", "Cadence & Cascade" and "Pictures Of A City". US first on Atlantic (SD 8266). Premiere UK had label as shown here and heavily structured fold/out cover. (KYK*)(ÖSÄP*)

THE SWINGING BLUE JEANS/HIPPY HIPPY SHAKE LP-9261 (-64) US MONO

This US album is not a variation of their UK HMV debute "Blue Jeans A' Swingin", but a totally different issue with only one coinciding cut - "Save The Last Dance For Me". It's mainly a compilation of single and EP tracks not issued on LP in England. So beyond comparison - if you're a fan you'll need both. To my taste they did their best on '45:s, so this is the SBJ I'm listening most to with early up-tempo classics as "Hippy Hippy Shake", "Shake Rattle & Roll" and "Good Golly Miss Molly". Simple ritalin rock with tons of energy in a happy atmosphere. Audio right on - strong and clear. Also issued in stereo (LP-12261). Early press had label as shown here, thick unflexible vinyl and glossy cover. (YZÄ*) (ÖXCÅ*)

ON DOWNLOADS AND NEEDLE DROPS

Lately I got comments and mails about the possiblities of downloads or needle drops. Most of them are friendly, but a few not so kind. I do understand if someone gets frustrated looking for a download link that isn't there. Here's to avoid further misunderstandings. This is not a commercial site. The page has ads, but after eighteen months the total income is under $40. I'm all alone doing it and the images you see are from records in my own collection. Usually not into digital stuff, this old computor and a flat TV being the only exceptions. Never had a cell phone or played video games, got a CD but don't use it. Born into an analog world 1953 and remained there since. Maybe I can do downloads in the future, but that takes buying new equipment, learning the process and get started...and for now I haven't got enough time. Many of the cuts are on Youtube anyway and Prof. Stoned (on my linklist) has lots of very rare monos for download, if you prefer that. Kindly/Erik

NILSSON/PANDEMONIUM SHADOW SHOW RD-7928 (-67) UK MONO

(I'm loving this LP so please prepare for positive opinions.) Another almost forgotten gem. Harry Nilsson (1941-94) had his most successful days in the seventies with albums like "Schmilson", "Son Of Schmilson" and the John Lennon collaboration "Pussy Cats". He started his carreer as singer/songwriter in the early sixties, writing for and working with artists as Little Richard and Phil Spector and also recorded a bunch of singles for Tower label 1964-66. His first LP - "Spotlight On Nilsson" (Tower T-5095) ) - was mainly a compilation of those A:s and B:s, so it's fair to say this is the actual debute album. May be the public acclaim came later, but to my ears it was his best - a true masterpiece and one he never topped. Obviously inspired by contemporary Beatles works - a cover of "She's Leaving Home" about a month after the Sgt. Pepper release and a version of "You Can't Do That" containing quotes from a large number of other Lennon/McCartney songs. Six of the cuts are covers and six self penned - including classics as "Ten Little Indians" and "1941". In many ways it's a perfect album. His vocals are outstanding, sincere and attractive, covering a large register. Production (Rick Jarrard) and arrangements (Perry Botkin, George Tipton) are rather advanced with partly heavy orchestration and fits like gloves to the melodies. The audio on this UK press is very nice - soft, yet clear - with all certainty a separate mix using the US mono tapes (RCA Victor LPM-3874). It was a hit in Canada, but didn't raise much attention in US or UK. However The Beatles became big fans and Lennon is reported having listened to the album for 36 hours non-stop. Both John and Paul also named him their favorite American artist in a 1968 interveiw. Early UK had black label as shown here, thick vinyl and laminated cover. (SYSÖ*)

MADDY PRIOR AND THE ANSWERS/GOING FOR GLORY SPIN 104 (-83) UK

In the seventies I was in love with Maddy Prior's powerful voice and her cheeky ways. To me she was the heart of Steeleye Span and her first two solo albums - "Woman In The Wings" and "Changing Winds" - were pure joy. On the third - "Hooked On Winning" - she'd started a close collaboration with then husband, bassist Rick Kemp, wich showed a more pop oriented style (see earlier post http://monolover.blogspot.se/search?q=maddy+prior ). IMO it didn't suit her at all and the production and choice of instruments hampered her talent rather than support it. Unfortunately this fourth solo effort is more of the same. All numbers written by Prior/Kemp. Nothing wrong with the songs - the lyrics are poetic and some of the melodies has the ability to touch, but the arrangements don't fit. Most cuts are performed as up-tempo pop or fake raggae, often drowned in synths doing strings or mimicking other instruments. The audio is very sharp with too much reverb and the mixing accentuates everything but Priors vocals. Only two tracks works for me - "Each Heart" and "Deep In The Darkest Night" - calm songs with sparse backing. Produced by Nick Griffiths who mostly worked as studio engineer. Don't know much about the supporting musicians other than guitarist Mick Dyche earlier had been with Sniffin' The Tears. Vinyl issue in UK only had label as shown here and thin glossy cover. Later coupled with "Hooked On Winning" for CD release on Park Records as "Hooked On Glory" (PRKCD 110). (BRYF*)(FÄV*)(SÖPX*)

JETHRO TULL/SONGS FROM THE WOOD CHR 1132 (-77) UK

Their 10:th studio LP and a slight change of direction from the previous more rock oriented style. The first in a serie of "green" albums taking a closer look at nature from within - folky in a way, but without fully adopting the genre. It's still basic Jethro Tull more than anything else. They've done so much good it's impossible to pick one favorite album, but this is high on my list. It's filled with good songs, catchy melodies and pastoral lyrics. One of my "happy" albums - from cool comments to frothy moves it leaves me with a big smile every time. Fav tracks at the moment - "Jack-In-The-Green" and one of the best Christmas songs ever "Ring Out, Solstice Bells". Audio on this early UK press is unusually bright and crispy. I miss bass and a firmer foundation, but it's OK. First US with same cover and number. Premiere UK on green label as shown here and "10TH SET" etched into both matrixes. It came in a glossy cover having the "Oxford Street" adress bottom rear, some with "Jethro Tull Collectively" inner. (YÖHT*)

LITTLE STEVIE WONDER/THE 12 YEAR OLD GENIUS RECORDED LIVE TM-240 (-63) US MONO

This LP became a major breakthrough for the young Stevie Wonder. An alternate edit of the opener "Fingertips" was released as a single and topped both Bilboard pop and r&b lists, while the album itself went to no. one on Billboard 200 and r&b albums. Recorded June 1962 in Chicago and produced by Berry Gordy. It is an amazing soul appearance by a 12 year old, handeling vocals, harmonca and some bongos. Apart from the pre-teen voice it's so mature - he's got presence, prosody and power and owns the stage and public. I became a Motown fan some years after this and for decades didn't care much about it, instead caught by his later work and the labels other marvels. Today I'm liking it for mentioned reasons, but above all the audio - big, open and natural. In front of a good equipment just close your eyes and with some imagination you're sent back to Regal Theater in Chicago summer 1962. Early mono release in UK on Oriole (PS 40050), also re-issued world wide from the seventies and on - some as original mono and some in fake stereo. I guess this is an early US press with label as shown here, thick unflexible vinyl and thick laminated cover. (TÖMÖ*)(LYBÖ*)(FÖGÄ*) (YZÄ*) (ÖXCÅ*)

FREE LIVE ILPS 9160 (-71) UK

Issued by UK Island after the bands first break up earlier that year (which btw showed to be no more than hiatus since they were back shortly after and recorded two more albums). It consists of seven live tracks taken from a bulk of recordings made at two different locations in England 1970 and one previously unissued studio cut - "Get Where I Belong". Usually these clean out cash-in issues comes with a number of inferior cuts, but this is surprisingly good throughout. The live audio is tops for its time and gives both clarity and live atmosphere. The performance is just fine - much rawer than any of their studio recordings - with some great guitars and Paul Rogers' vocals cut loose more than usual. Favorite tracks - "Fire & Water" and "The Hunter". The studio recording is a softer country ballad - not the band at its best, but Rogers' singing makes it work for me. It was a hit in UK at #4, but not as successful in US where it halted at #89. First US on A&M (SP-4306). Frequently re-issued on CD and vinyl through the years, some with bonus tracks. Premiere UK had label as shown here, "envelope" cover with glued on stamps and credit inner with flips. (LYBÖ*) (FDÄ*)

BEE GEES/ODESSA 582049/50 (-69) UK MONO

The fourth Bee Gees UK album and the last with the group's original setting. The arrangements and production are top of the line. There's also a couple of classic songs, but to my taste the assignment is too grand and I could have done without a few of the instrumentals. What really intrigues me about it is this mono issue. When it comes to audio it's the king of monos - big, clear with perfect separation and presence. The balance doesn't differ much from the stereo and there's been discussions - true mono or fold down? Some time ago I got in contact with Joseph Brennan - expert on Bee Gees and sixties recordings - and told him I was eager to know. He was kind enough to ask Adam Sandoval - the man who put together the CD box version and thus had access to the original tapes. As it turns out all tracks have separate mono mixes. They're similar to the stereo, but the different makings explains the high quality audio. However good a compatible stereo is, a fold down can never be as perfect as a carefully made mono mix. US stereo issue on ATCO (SD 2-702). First UK had label as shown here and fold/out felt cover with gold print on front. (YMÖ*)(BÅXÅ*)(MÅW*)

THE ROLLING STONES/PROFILE 6.24001 (-79) GERMANY

One of many seventies Rolling Stones compilations with cuts from the Decca/London years and to my taste one worth having. Issued in Germany only, through the Teldec/Profile serie. As far as I can hear all cuts have proper mixes and the audio is tops. What makes it a little more special is they included the "Performance" version of "Memo From Turner" - a mix of Jagger's vocals from a 1968 take with new backing made in Los Angeles 1970 - played by Ry Cooder, Gram Parson and Randy Newman among others and produced by Jack Nitzsche. Apart from the sundtrack album the cut also appears on the US "Single Collection - The London Years" from 1989 and the 2007 "The Very Best Of Mick Jagger", but this is the first (only?) time it shows up on a legit Rolling Stones Decca LP. So it's not just for zealot collectors of the group. Good tracking with one rare version and enjoyable listening should make it valuable for most Stones fans. First issue had label as shown here and thin fully laminated cover. (RÅ*) (GÖXÄ*)

DAVID TUKHMANOV/ON THE CREST OF MY MEMORY 33C 60-07271-72 (-78) USSR

It isn't easy today finding seventies psych/prog/art rock albums from the former Soviet Union. Here is one containing all those genres - and it's good. David Tukhmanov is a Russian composer and piano/keyboard player with an education in classical music. From late sixties through the eighties he was one of the formost hit-makers and writer of film scores in the empire. I'm not sure about the discography, so this is his second or third LP. It's been called a Russian Sgt. Pepper. That fits in a way - a concept album and the end of each song harmonizes with the beginning of next as the (mono) Sgt. Pepper. This is a lot more adventurous though. Sometimes reminding of ELP, but with some of its roots in the domestic music scene it's not like anything else. The pieces are interpretations of known poems through the centuries - from Sapho to Gullién - having lyrics translated to Russian, with exception of the Shelley piece "Good Night" sung in English. There's a wide range of styles - "I Step Into Your Study In My Thoughts" starts as a regular song, but slides into hard core prog with tempo changes, brass, synth and psych guitar. "Heart, My Heart" is orchestrated funk, ending with a beautiful guitar part and "Perturbation" fits baroque pop. I know very little about the band and backing, but it's clear they're all pros one way or another. Boris Pivovarov does some great psych guitar and Arkady Feldberg's distinct bass carries through all the different styles. Brass came from Melodia label's own studio musicians and strings from the "USSR Radio and TV Symphony Orchestra". Apparently there are different lead vocalists, of which I like the female best - especially the voices at the end of "From Sapho". Production and audio are precise and clear, only downside is some of the best guitars are too low in the mix. Since this copy don't have cyrillic lettering on song titles and backside text is in English it may have been done for export. I guess it's an early press with blue label, unflexible vinyl and thin matt cover. (BÅC*)

TASTE/ON THE BOARDS 583083 (-70) UK

Irish group founded 1966 and only releasing two albums before breaking up 1970. This was the second. (For more on group members and music check my post on their debute http://monolover.blogspot.se/2012/07/taste-583-042-69.html ) . As on the first LP the main impression is basic guitar-driven raw bues, but some of the tracks here are more towards jazz. If the debute was borderline hard-rock this is marginal prog. Rory Gallagher had a rather prosperous solo carrer after break-up, but he never topped his performance here. The guitars are as reliable as innovative, skillfully performed through various styles. According to back cover he's also the one playing the very sufficient alto-sax on a few of the tracks and it's surprisingly good. The recording sounds relatively simple - straight on with few overdubs - giving a close connection. Produced by Tony Colton. I truly enjoy all of it, but for now my favorite tracks are - "Eat My Words" and "I'll Remember". First US on ATCO (SD 33-296). Premiere UK had label as shown here and thin structured cover. (GÄG*)

THE YARDBIRDS SSX 1018 (-65)/SGLP 531 (-67), (-69) MONO SWEDEN

In my opinion the best compilation of early Yardbirds cuts. It has the first four UK singles - A:s and B:s - plus the three track "Five Yardbirds" EP. All are from the UK tapes and the pressing and audio is top notch. The numbers also showed up on various US Epic albums, but sometimes with different edits and audio. This has the original recordings, exactly as first made. Together with the US Epic mono's "Greatest Hits" and "Little Games" it's about what I need by the group. Released in Sweden only with three different issues during the sixties. First 1965 on Columbia came in a studio pic cover - image from one of the first sessions with Jeff Beck as a member. Second 1967 on HMV red/black label had a front cover photo taken in Stockholm at a time both Jeff Beck and Jimmy Page was in the band. Third 1969, also on HMV, in same cover as the second and black/silver label. All made from the same matrixes (XCSX 144/145) with similar sound quality. The covers are fully laminated and the first two came on thick unflexible vinyl. (YÄB*)(PÖP*)(JÄBÄ*)(SWÄU*)(CCÖ*)