CLIFTON FORD/DANDY NPL 38028 (-66) UK MONO

Clifton Ford, born Ian George Stopford Harrison, (1931-2009) was a British artist with a prosperous carreer from the late fifties way into the sixties, but today almost totally forgotten. Started 1957 singing with a jazz combo and made unsuccessful recordings as part of skiffle bands before he got his solo breakthrough with a cover of "Old Shep" 1959. Apart from performing at Royal Albert Hall and in TV-specials he also had three more charting 45:s in UK and a debute album - "Fanlight Fanny" - reaching #16 1962. Eventually his style, doing fifties mode vocal interpretations of country, pop and comedy numbers became obsolete, and though trying to keep up by recording more up-to-date stuff he was soon outrivaled by acts from the merseybeat, white blues and psych scenes. Got his last UK hit 1967 with "Run To The Door" at #25. This Picadilly album is a semi-compilation, containing single tracks earlier recorded for various other labels coupled with newly made. If you like it depends on where your heart is. For those of us who listened a lot to ordinary radio in the sixties and like to reminisce it's home. Well performed, friendly, part funny and never even remotely dangerous. Only cut off pattern is the cover of Kinks "Dandy", but it's still on the mellower side. Production - made by John Schroeder (who among other things also produced Status Quo's first two albums) - and arrangements are impeccable and the audio very good. To my knowledge this was the only issue. It had label as shown here and laminated flip/back cover. (FÖGÄ*) (MÖRS*) (PÖY*)

QUEEN/SHEER HEART ATTACK EMC 3061 (-74) UK

Big fan of their second album (see earlier post) - to my taste a beguiling blend of progressive and catchy melodic. This third is not as adventurous, more towards glam rock and pop. Same combination of creativity and beauty, just a little more restraint. So even if another kind of trip, still a joyride. I've seen it been called a spadework to "A Night At The Opera", but that's always in retrospective. For us who were there already before ANATO surfaced this is the true original. That may have a better layout, more meticolous production and flashier outcome, yet the core is here already - the great guitars, vocals and melodic songwirting. For exemple I can't find anything they did later more beautiful than "Killer Queen" or "In The Lap Of The Gods...revisited". Not that I dislike ANATO, just getting a lot more connection here. I'm thinking same relation as "Revolver" to "Sgt Pepper", of which I've always prefered the former. First US on Elektra (7E-1026). Frequently issued and reissued on vinyl, cassette and CD through the years. Premiere UK had label as shown here, fully laminated Garrods & Lofthouse cover with title both on spine and top seam and lyric/credit inner. (QÄN*)

THE LOVED ONES/MAGIC BOX WG-S/25/5127 (-67) STEREO AUSTRALIA

Though only existing for about two years they are still by many remembered as the most exciting Australian rock band of the sixties with big live following and considerable domestic record sales. Formed 1965 by former members of local Melbourne groups "Red Onions Jazz Band" and "Wild Cherries". Their first singles and an EP became national hits and they were forced to excessive touring all over downunder. It seems the schedule wasn't handeled very well by the company - the "boutique label" W&G Records - and by the time this first LP was about to be a couple of the original members had already quit and the rest were exhausted. So instead of all fresh recordings it's largely a compilation. Former A-sides, B-sides and EP cuts and as far as I can see only one exclusive to this album - "Shake, Rattle and Roll". A couple of the singles were issued in US and Europe and there was also a selftitled French EP (Disques Festival FX 1528 M), but the LP was Australian only. Listening and grabbing it as an entity today you get a garage band grasping a mulitude of genres - pop, blues, jazz, psych. With all certainty inspired by groups as Animals, Stones, Downliner Sect and the growing US psych scene, but a lot more humorous and undeluted giving a truly genuine impression. The cuts differ a lot in quality - performance as well as audio - from rather bad to tophole, yet put together it's a fine garage album, honest and heartfelt - just as I want it. As I understand this was the first Australian rock LP to be mixed in true stereo and all cuts are more or less. I've been told when Raven Records made a remastering for CD 1985 (RVCD-02) they by mistake (?) only used the left channel resulting in a new (fake) stereo version, which also was used by Karusell for their 1995 CD (551130-2). Don't have the means to confirm it, but if accurate the true stereo does not exist on CD so far, only on this and the Aus 1972 vinyl reissue on Astor (WG 5127). First came with ridged label as shown here and laminated cover. (DÖW*) (ÖGÄ*)

STEN & STANLEY/VARSÅGOD SKL 4829-KM (-66) GERMANY

Their third album, released between "I Lust Och Nöd" and the attempt on the Australian songbook (see previous posts). The rocking angle from their early days almost totally gone by now and the emphasis was on soft dance friendly pop. For me so deep into the innovative UK and US music scenes at the time they were a definitive no and seen as something fitting for old people or the musically ignorant. But with growing age and distance I've come to appreciate them a little more. The relative innocence and honest apperance - doing what they like as good as they can - combined with very clean and direct audio gives it a warm friendly feeling that's not all bad. Many of the takes sounds direct live in the studio which also adds to the close atmosphere. I wouldn't call it "garage", but it has some of the same simplicity. Recorded at KM studios, Stockholm (see session pic below). Don't know of any other issues. This was pressed in Germany for the Scandinavian market. First with label as shown here and thin fully laminated cover. (GÖXÄ*) (SCÄ*)

EMERSON LAKE & PALMER/LOVE BEACH SD 19211 (-78) US

Last original studio album by the combo before the 1992 "Black Moon". By time for recording the band was already on the edge of breakup, but as they had contract for one more Atlantic album pulled it together for sessions at a studio in Bahamas. Finished in short time and according to Keith Emerson everybody but him "wanted to get the hell out of Nassau", so he stayed behind and pulled the recordings together by himself. At time for release the album failed both with critics and audience - only reaching #55 on Billboard - yet continued steady slow sales and eventually went gold. I didn't embrace it back then, but listening today it's not bad at all. Even if made hastily and out of duty rather than inspiration there was still too much talent involved to make it an artistic failure. With one side dominated by Greg Lake and the other by Keith Emerson and coming through as melodic rather than experimental it's more like "Trilogy" than "Brain Salad Surgery". Side one is filled with well written songs containing quite a few catchy moments and side two's symphonic presentation just hides a couple of more good songs. The instrumental backing is sufficiant and you get lots of Greg Lake's fetching vocals. Maybe not their best, but to my taste better than many other contemporary issues in the genre. Released all over the world on vinyl, cassette and CD through the years. UK first on Atlantic (K 50552). Premiere US had label as shown here, glossy cover, brown inner and "tour gear" insert (sadly missing on this copy). (YZÄ*) (ÄPY*)

THE SETTLERS/CALL AGAIN MAL 1226 (-68) UK MONO

British mixed vocal combo, formed in the midlands mid-sixties. Often referred to as a "folk group", but far from the folk rock bands emerging some years later and more towards mainstream pop with a sound reminding of The Seekers, Peter Paul & Mary or The Mamas and The Papas. Though releasing a large number of singles and getting lots of air play, especially on pirate radio, performing in TV-shows and sharing live bills with the sixties most prominent UK acts they never hit the big time and non of their sixties recordings managed top 40. During the first ten years they released records through a large number of different labels - Decca, Pye, Island, Columbia, Philips, York, Myrrh, Tempo, Hickory, Opus and Riverdale. The songs on here are A:s and B:s of six Pye singles recorded 1965-67, where of only one - "Can't Stop Following You" - can be found on regular LP ("Go! With the Overlanders and the Settlers" - Pye NPL 18163). Listening today I hear lots of resemblance with their Australian and American sound-alikes. Some call it copying, but most of it really just similarities. Getting a fair share of fine female vocals, the arrangements are top notch and the audio very good. Favorite tracks - "Major To Minor" and the "Nowhere Man" cover. Soft and radio friendly indeed, but with some remaining quality. Issued in mono only. Don't know of any other releases on vinyl or CD. This had label as shown here and laminated flip/back cover. (FÄV*) (PÖY*)

PETULA CLARK/PETULA WS 1743 (-68) US

One more reminder of the most persistent UK female artist up to date, with a carrer stretching over seven decades (when Rolling Stones took off she'd already been in the business for twenty years). After adapting and being contiuosly contemporary from the forties and on she got a world wide hit with "Downtown" 1964, thus becoming a natural part of the "British Invasion". In US, apart from a movie carreer, she managed fifteen consecutive top 40 hits, where of two #1, was awarded Grammys 1964-65 and nominated for a Golden Globe 1968. She also hosted her own TV-show 1966-68. This was her 26th album, with 35 more to go up to her last so far 2013 - "Lost In You" (#24 in UK). Elaboratedly produced and arranged by Tony Hatch they're playing it safe with a nice "Swinging London" atmosphere and equal parts up-tempo and slow movers, many embedded in buxom strings. Only even remotely adventurous is the cover of The Kinks "Days", which remains my favorite track. I keep the LP for the ambience and the memories, but so well done it should attract most lovers of light sixties pop. The album itself topped at #51 on Billboard Hot 100 while the two single picks did better with "Kiss Me Goodbye" at #16 and "Don't Give Up" reaching top 30. Also issued in mono (W 1743). First UK on Pye (NPL/NSPL 18235). Premiere US had label as shown here and glossy cover, some with a giant face poster advertising her upcoming movie "Finian's Rainbow". (FÄV*) (YZÄ*)

STEVE MILLER BAND/YOUR SAVING GRACE 1C 062-80277 (-69) GERMANY

To my taste one of the better US bands of the period all the way as they went from melodic blues based psych in the late sixties to a more commercial, clean and robust, style in the seventies. Had most of their albums to and from through the years and though all provide a good feeling always thought they were a little uneven - each with a couple of truly great songs, surrounded by others less captivating. This is no exception, but has remained a favorite due to the side one beginning. The funky, melodic and guitar spangled "Little Girl" followed by the jazzy "Just A Passin' Fancy In A Midnight Dream" and blues gospel "Don't Let Nobody Turn You Around" has to be one of the best album openings ever and to me nine minutes and twentyfive seconds of uninterrupted joy. I dig the title track too but find some of the rest unexciting, e.g. the rather bland version of "Motherless Children". Anyway four greats out of eight isn't bad at all and makes it a keeper for sure. I guess most collectors will go for the US or UK issues, but this German also has things going for it like the exclusive front sleeve design and top audio. Premiere US on Capitol (SKAO-331) and UK (E-ST 331). Also issued and reissued on vinyl, cassette, reel and CD through the years. First German had label as shown here and laminated fold/out cover. (GÖXÄ*)

ROLLING STONES/ NOW! LKA 7595 MONO AUSTRALIA VS. LL 3420 US MONO

When I got my first US "Now!" mono long time ago I thought it was a revelation, not only beacuse of different tracking but also compared to how the same cuts sounded on the corresponding UK issues. As the British seems to have used a lot more compression or limiting for their albums the American version came through bigger, clearer and more dynamic, and I couldn't imagine further improvement. Therefore it was almost a shock hearing this Australian issue for the first time. For some reason "Mona (I Need You Baby)" was replaced with "I Can't Be Satisfied", but that's not the biggest difference. The clarity on the Australian release is better and a lot more revealing. You become aware of flaws and errors hardly audible on the US or UK issues and the feeling is 100% natural, like a visit to the studio rather than a processed product. To my sensitive ears the difference was so big for a while there I almost thought they'd used alternate takes (for more background thoughts check http://monolover.blogspot.se/search?q=lka ). But a throrough comparison shows it's the exact same takes - just less processed. I get the impression of Rolling Stones exactly how they were in the studio - right on. Don't know if the more naked outcome has to do with Decca pressings in Australia were handeled by EMI instead of Decca/London and therefore handeled differently, or the pressing more high quality, but this is early Stones just as want them - a simple, decadent raw garage band, nothing ventured nothing gained. Please be aware variations in clarity and overall sound is dependent on what pressing it is, equipment used when doing the comparison and how close one listens. This builds on my preconditions, others may not give the exact same picture. (RÅ*) (YZÄ*) (DÖW*) (CPYC*)

CAROLE KING/MUSIC AMLH 67013 (-71) UK

For more background check post on her debute "Writer: Carole King", Second album "Tapestry" became an immediate success and is today one of the best selling albums ever. It would have been almost impossible to match that with this follow-up - so she didn't. It stayed on Billboard #1 for three weeks and spawned a couple of high charting 45:s, yet far from the "Tapestry" super blast. Made with about the same crew and produced by Lou Adler. But while on "Tapestry" she'd partly relied on her back catalogue this consistes mainly of newly written songs, composed during the nine month gap between the albums. You get the same kind of elegant production and backing, but not the same obvious hit feeling. That's not always a bad thing. While a hit spangled album often get showed down your throat from friends and media, the less exposed have a chance to get a more private connection and therefore last longer. I'm listening now as I write and it's a very pleasant experience. Not that it changes my world or make me jump up and down with joy, but it sure puts me in a good mood. Issued world wide on vinyl, 8-track, cassette and CD through the years. Premiere US on Ode (SP-77013), also as quad (QU-88013). First UK came with label as shown here and matt fold/out cover with lyric insert. (FÄV*)

JOHN CALE/CARIBEAN SUNSET ILPS 7024 (-84) UK

His ninth studio album and still going strong. This time recorded for and released by the New York based "new wave/experimental" ZE records as distributed by Island. Apart from the ever present Brian Eno only backed by a three piece of fairly known musicians. I've seen it labeled as pop, punk or new wave, but to my ears it's most of all another good John Cale album...no further epithet necessary. The concerned songwriting is still there, the melodies and lust for slightly odd forms. I get experimenting conveyed by a then up-to-date atmosphere, but also euphonic and catchy. Cale was 42 y.o. at the time but here sounding as curious and hungry as ever before. Favorite tracks - "Hungry For Love", "Experiment No. 1" and "Villa Albani". Premiere US on ZE (IT 8401). Contemporary release all over Europe. To my knowledge never legally reissued on CD though counterfeits exist. First UK had label as shown here and thin glossy cover. (CÄLX*)

HERMAN'S HERMITS/THERE'S A KIND OF HUSH ALL OVER THE WORLD SX 6174 (-67) UK MONO

From the beginning a US/Canadian compilation (MGM E/SE 4438), issued in UK about three months later. As usual with Herman's Hermits albums it's a fine collection of perky and catchy songs determined to make you smile or at least put you in a good mood, this time including a couple of top 45:s - among them "No Milk Today", "Dandy" and title track. As produced by Mickie Most (1938-2003) you should expect tophole mixes and audio, but this comes out wrong...at least to my ears. Many of the songs sounds different from the corresponding ones I have on other mono releases, deviating in balance and separation - and never to the better. I don't have any original stereo to compare with at the moment so I can't be 100%, but this sounds like a fold. If so I can think of two explanations. Since it was first planned and released as a stereo export (SCXC 34) only the US two-channel tapes were requested and when later decided to make a double domestic issue they used those for both formats...or maybe the US mono was a fold in the first place. If anyone reading this knows more - please comment and tell! First UK had label as shown here and laminated flip/back cover. (HÄHX*)