THE BEST OF THE WHO 2482 172 (-74) HOLLAND

Dutch collection issued through the "Golden Crown" budget serie. Track choice rather odd - stereo version of "I Can See For Miles" coupled with three cuts from "Live At Leeds" and three from "Tommy". The compiling doesn't give any real flow, but The Who that period could never be bad and with the OK audio it's fine listening anyway. If you haven't had chance to buy the originals yet and need vinyl it's a good taster. Also issued in Germany as "Pop Giants vol. 3" (Brunswick 2911514) and Brazil as "Pop Giants vol. 19 (Polydor 2494.319). Early Dutch had label as shown here and thin glossy cover without barcode. (WÖH*) (HÖLX*)

TOUCH DML 1033 (-69) UK MONO

There's so much to this album I just can't do it justice and at the same time fit the blog format in a smooth way. After dozens of re-write trials I hereby give up, skip the flow and hope it'll get through anyway. "Forgotten gem", "prog forerunner", important one-off" or "psych masterpiece" are just a few of all possible tags. Group evolving out of r&b garage band "Don & The Goodtimes", led by then 19 y.o. keyboardist Don Gallucci (who prior to D&TG had played with The Kingsmen on their "Louie Louie" hit). As the story goes - when hearing Sgt. Pepper the band felt stuck in their old ways and decided to try something new. First signed as backing group (named "Band Of Thieves") to Elyse Weinberg's LP "Elyse", recorded at Sunset Sound, Los Angeles. That done they stayed put and continued to record this album with "Elyse" engineer Gene Shiveley as producer. Sessions have been described as party-like and acid-drenched with many celebrities attending - e.g. Mick Jagger, Jimi Hendrix and Grace Slick - some of which may have contributed uncredited. The music is hard to describe. Imagine an unevenly pulsating blend of rock, jazz and psych coupled with strange noises - part hard core proto-prog but sometimes surprisingly melodic and catchy. A good trip for the adventurous listener, but it'll take you to odd places so be prepared. Way ahead of its time 1969 and even if the broad public didn't care or bought it back then it's now acknowledged as a forerunner and inspiration to many successful seventies bands - like Yes, Kansas, Uriah Heep and Genesis. Hard to pick a favorite track, it's the whole ride or nothing. This mono sounds like a fold. Audio ok, but partly a bit unbalanced frequence-wise. Premiere US on Coliseum "20-20 Sound" label (DS 51004). 2012 CD on Esoteric (ECLEC 2310) came with five bonus tracks. First UK mono had label as shown here and laminated fold/out cover with large poster and "red rim" inner. (DÄRR*) (YMÖ*)

THE DAVE EDMUNDS & LOVE SCULPTURE/SINGLE'S A's & B's SHSM 2032 (-80) UK MONO + STEREO

Another valuable compilation issued through the budget Harvest Heritage serie, this time containing twenty 45 cuts - 10 A's and 10 B's - from the years 1967-72. As far as I can figure out all but one are the original mixes - seven true stereo, two fake stereo and the remaining eleven mono. There seems to be some confusion about the "I Hear You Knocking" version, originally issued on Mam Records. Cover has copywrite year 1970, as expected, while it's 1971 on label. Apparently they didn't keep the mono for this, but used the same stereo mix as on his 1971 "Rockpile" album (Regal Zonophone SLRZ 1026). Sad in a way, but maybe they couldn't find the original tapes. You still get lots of rarities here - both sides of the Human Beans single, non-LP B-sides and otherwise uncommon single edits. Audio quality shifts a lot with some subpar to the originals. Rather OK anyway and in any case a must for Dave Edmunds fans and period completist. 1989 reissues on See For Miles Records - CD (SEECD 282) and vinyl (SEE 282). First had label as shown here and thin glossy cover. (PÖP*) (HÄVL*) (DÄWÄ*) (SÄSÄ*)

THE BYRDS/UNTITLED S 66253 (-70) UK

Bought the album at first release and it has stayed with me since. Even if a combined live/studio 2-LP set (not many bands have pulled off a live/studio combo 100% successfully), partly made from the leftovers of a failed musical/rock opera project, recorded at times of personal changes and confusion about musical directions - it remains one of their better and still stands strong in comparison to most of its kind. To my ears both stage and studio efforts are so good by themselves they could have made it as separate LP:s. The live album has two of my all time Byrds favorites. A wild sixteen minute "Eight Miles High" - more or less a psych guitar orgy - and the rudely attractive "Lover Of The Bayou". Studio album is without weak spots, topped by the three McGuinn/Levy compositions "Chestnut Mare", "All The Things" and "Just A Season" - all melodic and memorable. For some reason it just managed top 40 on Billboard, while the 45 pick "Chestnut Mare" only reached #121. It did better in Europe, notably in UK where the album got to #11 and single #19. Issued and reissued on vinyl, cassette and CD through the years, some with bonus tracks. Japan 2014 2-CD set (Sony SICP 30417/18) with fourteen extra cuts including mono single versions. Premiere US on Columbia (G 30127). First UK had label as shown here, thick unflexible vinyl and stickered matt fold/out cover with "Rock Buster" ad inners. (LYBÖ*) (XYGZ*)

20 FANTASTIC HITS BY THE ORIGINAL ARTISTS 2891 001 (-72) UK MONO + STEREO

Record collecting certainly is an all inclusive trade with something for everyone. I have friends who'll gladly spend hundreds of dollars extra on an item just because the label has the "right" shade, fonts on rear sleeve are uncommon or it's issued in a certain country...and that even if they don't particularly like the music or audio on it. At the same time it's possible to get a vinyl compilation in good nick from a period of your choice with lots of lovable songs, top audio and in some cases rare edits for next to nothing. As in this case. A British "TV ad" collection on a Polydor subsidiary label. Twenty tracks from 1969-72, many list toppers and ones that got lot of air play back then. Five of them mono single edits (marked * on track list below), the rest true stereo. I get quite a few personal favorites from the days - e.g. Melanie "What Have They Done To My Song, Ma", Slade "Coz I Luv You", Rod Stewart "Maggie May", BeeGees "My World" - plus a couple I may not have fancied then, but get a positive kick from listening to today - like Mixtures "Pushbike Song", Seekers "Beg, Steal Or Borrow" and Johnny Johnson "(Blame it) On The Pony Express"...so many memories. Audio is shifting, but all over surprisingly good for a low budget issue with ten cuts on each side - most of it big and warm with good separation. May not attract the poshest gatherers, but if you just need a stack of catchy songs with good audio on a chunk of everlasting vinyl for a few bucks it comes highly recommended. Issued in UK only, also on 8-track and cassette. LP with label as shown here and fully laminated cover. (SÄM*)

DAVID CROSBY/IF I COULD ONLY REMEMBER MY NAME 240 1005 (-71) UK

When I bought my first copy of the album long time ago I didn't like it a lot. My listening mode was already set by the "Crosby, Stills & Nash" and "Déjá Vu" albums and Stephen Stills' debute. Just didn't think this measured up. I wanted catchy melodies and adventurous twists and turns, but what I got here was large portions of indifferent melodic flows with few chord changes and partly word-less vocals - almost some kind of western ragas with chants. Today from a more mature standpoint, regarding its place in history, I hear a gathering of friends that enjoy playing and jamming together and doing good. The guest list is impressing. Apart from band buddies Graham Nash and Neil Young also Joni Mitchell plus members of Grateful Dead, Santana and Jefferson Airplane. It's all very relaxed peace and love, but more a warm blanket to crawl under than some colorful poster. To my ears nothing on the album stands out, grabs or chills. The positive vibes comes from the atmosphere and the secure, friendly performances. Sounds like a nice party indeed and this album is a standing invitation to participate whenever you want. Premiere US on Atlantic (SD 7203). Issued and reissued on vinyl, cassette, 8-track and CD all over the world through the years, some with bonus tracks. First UK had label as shown here and slightly structured fold/out cover. (ZHÄ*) (ÄTHP*)

OS SAMBACANAS/FLY ME TO BRAZIL POS 609 (-69) UK

Took some time to wrap my head around this - a seriously released stereo sampler, subtitled "adventures in stereo", advertizing the format and giving advice how to handle it...in England late 1969! Admittedly Page One label was a little behind with many faked two-channel issues as late as 1967-68, but the UK public must have been way ahead by then since most monos at the time only were available through special order or converted into compatibles. Anyway it sounds terrific - well balanced and crystal clear with a natural atmosphere that should please most audio freaks. You get then popular songs played latino style, using ethnic Brazilian instruments topped by flowing organ and sparse brass. Always interesting to hear odd Lennon/McCartney covers and here are "Hey Jude", "Yesterday" and "Step Inside Love" performed as faster, very rythmic samba or bossa. May not fit everyone, but if you're an audiophile or latino fan it's worth a spin. 1970 Swiss issue on PDU (PID A 5027) and Spanish on Gramusic 1972 (GM 153). UK reissue on DJM Silverline (DJSL 004). First UK had label as shown here and laminated flip/back cover.

LIVERPOOL-HOP SMC 83983 (-65) GERMANY

German only sampler with cuts recorded for UK EMI early sixties, some of them very rare or even impossible to get elsewhere on 33rpm today. Sixteen tracks, including two - The Blackwells "Why Don't You Love Me" and The Black Knights "I Gotta Woman" - from the "Ferry Cross The Mersey" movie, originally only on the US soundtrack version. Further oddities as Peter And Gordon's "Love Me Baby" (with Brian Jones on harmonica), The Federals "Twilight Time", Gene Vincent And The Shouts "Private Detective", Johnny Kidd And The Pirates "Dr. Feelgood" plus stuff from now forgotten acts like Christian's Crusaders, Tony Rivers And The Castaways and The Leroys. Also included are scarcer tracks from more known bands as Downliners Sect, Hollies, Gerry And The Pacemakers, Sounds Incorporated, Cliff Bennett and Freddie And The Dreamers. When you see a "stereo" sampler with larger part 45 only cuts from the early sixties you'd expect most of it to be faked in some way, but here it seems they dug deep to get the real thing as only five - the ones from Blackwells, Black Knights, Downliners Sect, Christian's Crusaders and Dave Clark Five - are enhanced monos, the remaining eleven true stereo. I guess many of these recordings can be found spread out on various CD compilations today, but if you want them collected in one place on early press vinyl - this is about it. Only issue with label as shown here and laminated cover. (SÄM*) (GÖXÄ*) (FÖGÄ*)

THE KINKS/THE KINK KONTROVERSY NSPL 18131 (-65) UK EXPORT STEREO

Maybe a must for die-hard Kinks fans, obsessive completists or sixties aficionados with a weakness for rarities, but if you're in it for the music, audio and atmosphere - don't bother! This is fake stereo all the way and totally without any forgiving outcome as good compability, separation or clarity. To me it most of all sounds like a bad mono, which is sad because the true one-channel issue is absolutely beautiful - big and strong with amazing separation (see earlier post). Makes sense it originally was made in small quantities for export only, and at that point never sold in UK. US stereo on Reprise tri-color (RS 6197) and Canadian on Pye (NSPL 30083) as far as I know using the same tapes. First UK had label as shown here and laminated flip/back mono cover with stereo sticker. (KYX*) (ÖXÄP*) (PÖY*)

HARD STUFF/BOLEX DEMENTIA TPSA 7507 (-73) UK

UK hard rock super group existing 1971-73, including former members of Atomic Rooster (John Cann, Paul Hammond) and Quatermass (John Gustafson). First album "Bulletproof" (Purple TPSA 7505) also had a singer - Harry Shaw - who left the band soon after recording and by the time for this follow-up they were down to a trio with John Cann doing the vocals. During the sessions Cann and Hammond were badly injured in a car accident resulting in long hospital treatments, but they somehow succeded to finish the recordings in time. After release the band dissolved. Hammond forced to a two year convalescence due to severe leg damages from the crash, Cann went to Thin Lizzy and Gustafson to Roxy Music. In retrospective group members have said the LP didn't work out as intended, much due to the accident. Maybe so, but listening today I get a fresh, down to earth and very enjoyable LP. A blend of hard rock, funk and plain rock'n'roll with a pinch of psych, well produced yet transparent enough to enable connection. As always I'm a sucker for fleshy guitars and there's much such here. As the mad psych title track, the perky riff in funky "Spider's Webb" or the all raw "Roll A Rocket". A fine exemple of early free spirited hard rock as it was before the genre was set and the acts began to be shaped in the same mold. US first came with a different sleeve design (Mecury SRM 1-633). Japan 2088 CD as limited edition mini-LP with paper sleeve (Air Mail Archive AIRAC-1510). Premiere UK had label as shown here and structured fold/out cover. (HÄVL*)

NOVEMBER/2:a NOVEMBER SLP-2520 (-71) SWEDEN

For background check post on their 1970 debute "En Ny Tid Är Här". That has always been my favorite with the band - early hard rock with catchy melodies and good guitars, conveyed by a remaining sixties psych feel and playful atmosphere. This follow-up has a lot of the same, but now with a little bit denser production (by George "Jojje" Wadenius who also assists on piano and organ), coming through slower, heavier and having a seemingly more serious aim. Even though I mostly prefer the happier former LP there's no denying this too is excellent hard rock psych/prog. All numbers self-penned with Swedish lyrics. Maybe not as melodic as the first but with lots of fantastic guitars, a fair share of tempo changes and sometimes odd chord sequences. Mix and audio tophole giving true connection when I'm in for a darker ride. Favorite tracks - the long various "På Väg" and the uptempo "Mina Fotspår Fylls Av Vatten". This was the only original release, not counting bootlegs and counterfeits. Reissued on CD 1995 (Sonet SLPCD -2520) and limited edition/numbered vinyl 2012 (Sonet/Universal SLP-2520/ 06025279797-9). First had label as shown here and laminated fold/out cover. (SCÄ*) (CCÖ*)(SÖNÄ*)