GEORGE HARRISON/CLOUD NINE 925 643-1 (-87) GERMANY

His eleventh and last original solo album. But even if billed as such there were so many other famed names involved in the making - Jeff Lynne, Eric Clapton, Elton John and Ringo Starr among others - it could as well have been tagged as a supergroup effort. The eighties wasn't a good place for me to be as music lover and collector. I did not like the sound coming out of the modern studio equipments or the synths popping up almost everywhere, replacing real instruments. So with his recent very uneven albums in mind and knowing Jeff Lynne co-produced I did not expect a lot from this, just bought it for old time sake. I remember liking it at first, coming out much better than anticipated, but since I'd just started to hunt down and collect rare monos at the time I soon forgot about it and lost it in some trade. Just picked up this copy from a used bin and finally found out it is a great album, even better than I remember. Jeff Lynne's involvement may make the sound a little ELO-ish at times, but it never tips over instead providing a cohesive atmosphere to the songs, making it good to the ears. And the songwriting maybe his best since "All Things Must Pass". The spotless "I'm The Walrus" pastiche "When We Was Fab" garnished by appropriate quires and real cello with Ringo on drums makes my mind drift back to the Beatles best days. "Cloud 9", "Devil's Radio" and "Got My Mind Set On You" very catchy, arrangements so well done all through and the guitars so sweet I'm in 100%. Almost glad I didn't take full notice back then, that means I can enjoy it more now. Issued and reissued on all possible formats all over the world through the years. First German had label as shown here and fully laminated stickered cover with picture/credit inner. (BÄ*) (GÄÖ*) (GÖXÄ*)

FOUR TOPS/SECOND ALBUM TML 11021 (-66) UK MONO

One of Motown's foremost hit machines back then. Just between 1965-67 having five top ten 45:s, where of two #1 and one #2, on Billboard hot 100, with the corresponding albums getting healthy sales too. It was also one of the Motown acts that made an inpact in Sweden at the time and gave the young me many happy moments. The melodic positive impact was just what the confused teen needed to get though and get going. All fond memories tied to the songs back then make me wanna listen again, so now I'm picking as much as I can with them from the used bins, hoping for rekindling. And on this I get two of my earlier most cherished - "I Can't Help Myself" and "It's The Same Old Song" - plus a few I forgot about, but now reignited - "Something About You" and "Since You've Been Gone". Album co-produced by Brian Holland, Lamont Dozier and Smokey Robinson. Instrumental backing by The Funk Brothers and backing vocals by The Andantes. So an all Motown affair and still making me happy. As many UK Motown issues cut a little too loud for my ears, straining the groove, but it is what it is and I can't do much about it, so better just shut up and enjoy what I can get. Premiere release 1965 in US and Canada (Motown M/S 634). This UK (also in stereo STML 11021) issued January 1966. Japan 2012 CD (UICY-75324) came remastered in paper sleeve. First UK had label as shown here and laminated flip/back cover. (TÖMÖ*) (FÖRH*)

FACES/A NOD IS AS GOOD AS A WINK...TO A BLIND HORSE BS 2574 (-71) US

Follow-up to the band's very fetching second LP "Long Player". For background check   https://monolover.blogspot.com/2019/08/faceslong-player-ws-1892-71-us.html. I get the same mix of raw yet friendly rock'n'roll and sincere ballads, but here even harder rocking and I'm if possible even more charmed. The lyrics to "Stay With Me" couldn't be more off in this "me too" day and age, but it is a hell of a rocker and as such a fine representative of the time in which it was made. "That's All You Need" building on a fierce slide guitar riff and telling a rather sad story...and still giving me goosebumps if I'm in the right mood. Further "Miss Judy's Farm", "You're So Rude", "Last Orders Please" and "Too Bad" good solid rock'n'roll - the latter having a theme slightly reminding of "Had Me A Real Good Time" from Long Player, with them being thrown out from a high class environment, thus emphasizing their own unrefined ways. This US press has awesome audio - big, wide and clear right in my face. Got nothing to compare with, but the copy has matrix no.s - 1BS 2574-A 40009-1A/BS 2574 4010-B-1C - which I guess means pressed at Columbia Records in Santa Maria (right me if I'm wrong). Issued and reissued on every possible format all over the world through the years. Premiere UK on Warner Bros. (K 56006) came with slightly different sleeve design. Early US had label as shown here in a fully laminated cover with "Loss Leaders" order form inner. Some also had a picture insert, unfortunately missing with my copy. (YZÄ*) (SXÅH*)

TOM JONES/ GREATEST HITS SKL 5176 (-73) UK

One can always argue if an album titled "Greatest Hits" is just that, but however you put it this gotta be pretty close. You get twelve of his highest charters in UK and/or US from 1965-71. And though around his fifteenth compilation or so world wide it was the first originating in UK. All cuts produced by Gordon Mills and arranged by some of the best. It's got no hidden gems like forgotten flip sides or earlier unissued cuts, just the hits straight on. So maybe not the most exciting for the already settled TJ fan, but very well done all through with top audio and perfect combatability for those who still prefer him in mono. In any case it is a quite early UK original with the man so for me a nice addition to the collection. US version on Parrot (XPAS 71062) came with ten tracks, omitting "Till" and "I'm Coming Home". Don't know of any other issues or reissues. Premiere UK had label as shown here in a laminated cover with "Important Notice" inner. (TÖJX*)

BLACK SABBATH/GREATEST HITS NEL 6009 (-77/-8?) GERMANY

Through this blog I've tried to show good alternatives that might fit collectors that for various reasons can't or wont go for the expensive originals. Here's a good one. A NEMS 1977 collection of tracks picked from the band's early LP:s, issued all over the world through the years on every possible format. A cheap choice back then, but as Sabbath last decades has become more and more fancy among collectors prices have begun to rise for original pressings and copies are today sometimes sold for $100 or so. But if you just want the music on vinyl and don't care enough to spend that kind of money, why not try a later press. This German eighties issue for exemple. The tracking is the same and even if the audio isn't totally up there with the band's early UK albums, it does bring connection and joy. And since a later press you can probably get it for less than $10, leaving enough cash in your wallet to buy more good stuff. This German second press came with white label as shown here and thin fully laminated cover. (GÖXÄ*) (BLÄC*)

THE SUPREMES/THE SUPREMES SING MOTOWN STML 11047 (-67) UK STEREO

UK version of the US "The Supremes Sing Holland-Dozier-Holland", with other title and different front sleeve but same tracking. Already have the US mono (see earlier post) so this UK stereo is nice addition for an old Supremes fan. Not comfortable doing a mono-stereo comparison between a US and a UK since handeling like mastering, pressing and other treatment could differ a lot, but the US is a known separate mono mix and this UK is definitely true stereo...so no further excavation needed. I have been known to whine about some of the UK Tamla Motown issues having too loud cutting, but no such problems here. The audio is excellent with healthy overlapping - wide and clear, yet warm and embracing. And considering the separate mixes as valuable to the ears and mind as the mono. Both providing so enjoyable listening I can't say which gives me the most pleasure at the moment, but one does not exclude the other. This UK version seems to have been a Eurpean matter only, also originally issued in Germany, Holland and Scandinavia. German 1999 CD (Motown 530443-2) came with an eight page booklet. Premiere UK had label as shown here and laminated flip/back cover. (ZYZÖ*) (FÄV*) (TÖMÖ*)

DEEP PURPLE/SHADES OF DEEP PURPLE UK MONO PMC 7055 VS. STEREO PCS 7055

A comparison I wanted to do for a very long time. Had the mono for decades     https://monolover.blogspot.com/2012/05/shades-of-deep-purple-pmc-7055-68.html , just waited for a first press stereo to show up. Though the one here is an early seventies it still has -1/-1 matrixes and 1GO/1T mother/stampers in an original sleeve , so in a way more a prolonged 1st press than a 2nd and well up for the task. Not doing a thorough investigation, just enough to decide if the mono is valid. I've seen on the net this mono is called "a simple fold-down", but I wanna know for myself. The stereo is an ok compatible and the differences aren't huge, but at least two things tell the formats were treated separately - "Hush" mono starts with two howls while the stereo has three. Then in general the mono comes out clearer and better separated than what you get when connecting the channels on the stereo. Not much, but taken together with the number of howls enough to convince me that the mono isn't a straight fold. Then in 1968 almost all UK EMI monos were separate mixes, but it's best to be sure in each case. (DHÄ*) (PÖX*) (CPYC*) (MÅW*)

PEGGY LEE/IN THE NAME OF LOVE T 2096 (-64) UK MONO

Singer, songwriter and actress Peggy Lee (Born Norma Deloris Engstrom of Swedish-Norwegian heritage, 1920-2002) started her carreer as singer for Benny Goodman and got her first Billboard #1 1941 with "Someone Else Is Taking My Place". After a couple more charters with the band, where of "Why Don't You Do Right" at #4, she went solo and between 1945-70 managed fortysix more US entries, incuding seven top ten and another #1 with the 1947 "Mañana". She's also done numerous movie and TV apperances through the years and worked with about every then celebrity in American showbiz. Even with that that background I'm surprised to hear what she did on this LP 1964, at the same time as British pop and rock begun to take over the US lists. There's no response whatsoever to any new zeitgeist here, instead the atomsphere and performance oozes fourties and fifties. Smooth jazz and languishing ballads conveyed by soft and cozy arrangements and soothing audio. Could be tagged "easy listening", but to my ears her personal and emotional vocals save the record beyond that, and then especially in the slower numbers like "Senza Fine", "My Sin" and "The Right To Love". Touching indeed and perfect for concerned love meetings and/or for us loners who still can reminisce days when music like this was prime. First issued also in US, Canada (T/ST 2096) and Germany (STK 83800). First UK had label as shown here with both "Sold in UK..." and "Recording first published..." in a laminated flip/back cover. (FÄV*)

JETHRO TULL/CREST OF A KNAVE OV 41590 (-87) US

The 1984 synth infected "Under Wraps" was the first Tull album I didn't fully enjoy and then feared they were on a downslope. But three years later this emerged. A killer LP showing them stronger than ever. Even if down to three original members - Ian Anderson, Martin Barre and David Pegg, supported by guest drummers Gerry Conway and Doane Perry - partly towards hard rock with noticable synth involvement here and there it's still very good Jethro Tull, bursting with beautiful catchy melodies as well as tophole guitar and flute. I don't get one weak track on this. To mention a couple - "Budapest" is an intriguing story ("...she wouldn't make love but she could make good sandwich...") with an awesome flute riff to complex guitar figures. First part of "Mountain Men" showing you can combine the plainly heavy with beautiful and catchy. "Jump Start" so well written, changing between calm and wild with lots of good guitar and flute. "Raising Steam" with its hauntingly bouncy refrain. And that just four picks out of a cornucopia of pleasing moments. Either you're a Tull fan that for some reason don't have it already or just a lover of touching pop/(hard)rock in general it's highly recommended. Released on vinyl, cassette and CD all over the world through the years. Premiere UK vinyl on Chrysalis (CDL 1590). Japan 2005 CD in limited edition paper sleeve came with "Part Of The Machine" as bonus track. I guess this US is early having A-1/B-1 matrixes with stamped "MASTERDISK" plus "HW" showing on a Columbia press. In any case the audio is excellent - very wide, pleasingly soft and well separated. It came on label as shown here and fully laminated cover with lyric/credit inner. (YZÄ*) (YÖHT*)

FORTHERINGAY 6339 010 (-70) GERMANY

A project initiated by Sandy Denny after she left Fairport Convention to get more room for her self-penned material. It gathered Trevor Lucas and Gary Convey from folk rock band Eclection plus Jerry Donahue and Pat Donaldson earlier in Poet And The One Man Band. The constellation didn't last more than a year, after which she went solo and Trevor Lucas and Jerry Donahue joined Faiport Covention, which she also did again 1974 (for more on all this check band page link). So it may have a different billing and members, but for me it's so close to FC at the time I can hardly tell them apart. This less folky and musically maybe a litte more tame, but same kind of touching songs and lots of the lovely Sandy Denny. Her numbers is what make this LP for me and then especially "The Sea" and "The Bank Of The Nile" - both intimate like a sweet caress . To my taste as a whole maybe not the best with the lady in charge, but as a devoted fan I take all by her I can get. Issued and reissued all over the world on cassette, vinyl and CD through the years. Premiere UK on pink Island (ILPS 9125). US on A&M (SP 4269). Japan 2005 CD (Island UICY 9535) came with seven bonus tracks. First German had label as shown here and laminated fold/out cover. (FÄHZ*) (GÖXÄ*) (ÖSÄP*)