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*)

KEBNEKAISE/RESA MOT OKÄNT MÅL SRS 4605 (-71) SWEDEN

Group evolving out of Swedish sixties psych/progg combo "Mecki Mark Men"   https://monolover.blogspot.com/2013/11/mecki-mark-menrunning-in-summernight-ls.html  . They're mostly known for developing the Swedish folk rock genre from 1973 and on - resulting in big domestic sales and sold out concerts. The music on this debute album has nothing to do with later fame, but more reminding of the MMM stuff. While following LP:s had settings with up to ten members, this is basic - bass/drum and two guitars. Most of all it's Kenny Håkanssons album. He wrote all songs and provides vocals and lead guitar. The style is kind of loosely knit psych hard rock with prog elements. It's an odd soup and you can hear inspiration from Frank Zappa as well as early Jimi Hendrix. A few of the songs have lyrics, but the main impression is a guitar album. Håkanssons licks are everywhere - supporting, pushing and sometimes caressing. Recording is simple, almost with a garage feeling, and the audio very good. Favorite cuts - the instrumental "Frestelser I Staden"   https://www.youtube.com/watch?v=ymxPZdD5Ow8   and "Kommunisera!"  https://www.youtube.com/watch?v=CTQkB9tYHSw . First press on the independent Silence Records had label as shown here and thin glossy cover. On CD 2001 (SRSCD 3606). (SCÄ*)(ÖGÄ*)(ÄZC*)(CCÖ*) (NÅY*)

PROCOL HARUM/BROKEN BARRICADES ILPS 9158 (-71) UK

Continuing my pushing for one of the greatest bands ever. At the time for recording a lot was happening in and around the gang. Matthew Fisher had left after the "Salty Dog" album and they just broke up from EMI and signed a new contract with Island/Chrysalis. Guitarist Robin Trower was also about to quit and this became his last as a group member. With all that going on you should expect it to show on the album - one or two bad ideas or at least one inferior cut, but there's nothing of the kind here. This is a tophole LP and all eight tracks are ready for love. Riff rockers, psych and ballads - well written songs with catchy melodies and poetic lyrics. Fisher's organ had been one of their main characteristics in the sixties, but you don't miss that at all here. It's simply a new sound with more varied arrangements and prominent guitars. Favorite tracks at the moment - "Broken Barricades", "Power Failure" and "Playmate Of The Mouth. IMO it should have been a list topper, but only managed #41 in UK and #32 on Billboard. First US on A&M (SP-4294). Premiere UK had label as shown here with "i" logo on top and fold/out cover with die-cut front. (PRÖX*)

THE EASYBEATS/HOLDING ON 2495 004 (-69) GERMANY

This is not an Easybeats album. "Show Me The Way To St. Louis" is the group '45, but the rest is from a bulk of songwriters Harry Vanda and George Young demos for other artists, made in a home studio late sixties. Apparently the two handeled all instruments and vocals, with some additional drums from Tony Cahill. Not originally planned for release, most tracks comes through thin and unbalanced and some in fake stereo. On the plus side there's a couple of very good songs and with right arrangements and production it could have been great. First Australian and UK issues - as "Friends" - had eleven tracks. This German variation came as a ten track, omitting "Watching The World Go By" and "Holding On", but adding "Gonna Make It" which also showed up as B-side on the Australian "I Love Marie" single. Most of the cuts have writers credit "Leon Russell", but he had nothing to do with it. Wanda/Young used "Russell" as a pseudonym and adding "Leon" was just an ignorant mistake by the record company. In all the album's not a mind blowing experience, but for those deep into sixties music history and recordings or die hard fans of Easybeats it's not that bad. First press had label as shown here and fully laminated cover. (Btw this version of "St. Louis" is fake stereo. If you want the original mono mix on LP with top audio, try the UK 1969 Polydor "Mencap" sampler instead http://monolover.blogspot.se/2012/06/hit-69-582079-69.html ) (GÖXÄ*)

RENAISSANCE ILPS 9114 (-69) UK

One of the most persistent UK groups up to date. From the debute 1969 they have released sixteen albums and a number of '45:s through different styles, labels and settings and still going strong. Never a household name or list topper, but always with a loyal following. Through the years there's been associates as John Wetton, Danny McCulloch, Roy Wood and Mickey Simmonds among about thirty others. Originally formed by two Yardbirds members - Keith Relf and Jim McCarty - together with John Hawken from The Nashville Teens, Louis Cennamo (The Herd) and Keith's sister Jane Relf. This setting only lasted first two albums, whereafter they split 1970 and were replaced by a whole new crew. Keith Relf went on to futher collaborations with acts as Armageddon and Medicine Head, Hawken became a session musician and played with Spooky Tooth and Strawbs, and Cennamo joined Colosseum. So in a way the first setting was a supergroup. The music on this debute flows between related genres in a way typical for the period - folk, jazz and psych with a classical influence - sometimes reminding of Nice or ELP, but mostly with a unique expression. Songwriting credits according to cover - "All basic melodies and lyrics: Keith Relf, Jim McCarty" - shows the numbers may have originated from some kind of staple ideas, but changed and developed as they went along. What makes it work for me is John Hawken's piano. While some parts of the music has a tendency to drift, his playing is distinct and upright alltrough, thus tying it together as a whole. Favorite track - "Bullet". US first on Elektra (EKS 74068). Also originally issued in Italy, France and Germany. Premiere UK had label as shown here and glossy fold/out cover. (YÄB*)(ÖSÄP*)

BACKTRACK 5 - WHO/HENDRIX 2407 005 (-70) UK

As the two previous issues in the serie entirely dedicated to The Who and Jimi Hendrix. All tracks are the common versions and there's no especially rare cuts or odd mixes. "Boris The Spider" is mono. "Magic Bus", "Manic Depression" and "Love Or Confusion" sounds like carefully made fake stereos, but OK if you don't listen too closely. The rest are true stereo. So it's more of an average compilation, but not without benefits. Back then when LP:s were relatively expensive in most European countries it was a blast getting an album with original numbers from the best groups for under £1. And in a way it still can be rewarding. For exemple for you who don't like buying UK originals of "Electric Ladyland" or "Tommy" to collectors prices, there's a couple of good tracks from them here, released just about a year later on the same label with top audio. If you want early press on vinyl this is an affordable alternative. First UK with label as shown here and thin glossy cover. (XXÖ*) (SÄM*)(WÖH*)(JHÄ*)(TRÄC*)

TYRANNOSAURUS REX/A BEARD OF STARS SLRZ 1013 (-70) UK

A transition album, somewhere between the fairy-tale psych of the earlier days and later T.Rex pop/rock fame. It was the last as "Tyrannosaurus Rex" and the first with Bolans new companion Micky Finn. Steve Peregrin Took had left in the middle of recordings after finishing some of the tracks - those were now re-made and overdubbed with Finn. Just before Bolan had changed from acoustic to electric guitar. Clearly he didn't master that transition yet which shows on a few of the tracks, sadly also including one of his best writings and vocal efforts ever - "Elemental Child" - pure magic...if it hadn't ended with one of the most disturbing guitar parts ever recorded http://www.youtube.com/watch?v=0qU70uQRomk . But that's just a few out of fourteen. The other songs have the familiar approach - wierd vocals and incomprehensible lyrics to sparse arrangements with a potted atmosphere. Some are a little more pop orientated, but the feeling is a lot like the previous "Unicorn" LP. Favorite tracks - "Fist Heart Mighty Dawn Dart", "Wind Cheetah" and "Dove". First US on Blue Thumb (BTS 18) came with fold/out cover. Premiere UK had label as shown here, fully laminated cover and lyric/picture insert. (RÄX*)(RÄZ*)

B.B. BLUNDER/WORKERS PLAYTIME UAG 29156 (-71) UK

Group founded from the remains of UK psych combo Blossom Toes. Guitarist Brian Godding and basssist Brian Belshaw teamed up with former BT drummer Kevin Westlake and recorded this LP. With addition of Julie Driscoll doing some of the vocals and work by studio wizz George Chkiantz the set-up was very promising. But it didn't fly and after some bad reveiws and low sales the group broke up later same year. Nothing wrong with the numbers, some of them are really good, like "Sticky Living" and "Seed", and there's lots of fine guitars and a few interesting psych passages. But obviously there were problems with production and mixing. Two or three of the tracks comes through very fine, but most of it sounds unbalanced with added reverb and vocals mixed too low. I hear constructed and artificial and miss the spunk and the connection. I'm surprised Chkiantz was part of that end result, but maybe he had a bad day. It's a pity - with better handeling it could have been a classic. 1971 releases also in Germany, with same label and number, and US on Polydor (24-4060). Re-issue on Decal "New Day" (LIK 48) as "Blossom Toes '70 (Formerly B.B. Blunder)". First UK had label as shown here and thick matt fold/out cover.