PROCOL HARUM/EXOTIC BIRDS AND FRUIT CHR 1058 (-74) UK

I enjoy their Regal Zonophone recordings more, so this is not an absolute band favorite of mine. However there was such a high level on everything they did so personal favorite or not it remains a very good album and one I still enjoy listening to today. Recorded during times of strikes in Britain leading to continuing power cuts, forcing them to use a reserve generator for some of the takes, but apart from "Nothing But The Truth" starting with a power check - "is it on Tommy? - there's not a trace of trouble here. All of side one is pure delight - "Nothing But The Truth", "Beyond The Pale", "As Strong As Samson" and "The Idol" - well written catchy songs carried by top production and Gary Brooker's special vocals. To my ears side two is a little weaker, but "Thin End Of The Wedge" is good psych and "Monsieur R. Monde" interesting as a remake of "Monsieur Armand" - a track they recorded Oct. 1967, remaining unrelesed in its original form before showing up on the 1976 UK Rock Roots compilation  https://monolover.blogspot.com/2012/05/procol-harum-rock-roots-4-hifly-22-76.html   . This did well in Europe, then especially Scandinavia, but only managed #86 on Billboard. Issued all over the world on vinyl, cassette and CD through the years. First US on Chrysalis (CHT 1058). Japan 2012 CD (Victor VICP-75098) came with the "Drunk Again" B-side and and alternative mix of "As Strong As Samson" as bonus tracks. Premiere UK had label as shown here and fully laminated cover. (PRÖX*)

PERCY SLEDGE/WHEN A MAN LOVES A WOMAN 587 015 (-66) UK MONO

This was his debute LP, not to be confused with the homonymous UK 1970 compilation (see earlier post). But though a different kind of album, most of it recorded earlier, it'll joint the same kind of presentation so I can as well reuse parts of the old one... If you're dumped by a true love, drowning in tears and need consolation - Percy Sledge will get the work done as his musical persona often seems to have been a helpless victim of love. It's about those lonesome moments and feelings we're not proud of, but need to be whole. Sentimental and covered by salty stains, but so well done it never gets slushy. Slow movers with organ, soft brass and weeping guitars. Not everyday listening, still good to have available cause someday you may need it (end of reusing). Listening as I write this totally caught by the atmosphere. Audio is tophole - distinct and natural - making me feel both caressed and poked. Especially by the title track, which probably is one of the most covered love ballads ever, here in pristine version. This recording got to Billboard #1 at release and reached #6 in UK at first while a reissue managed #2 there 1987. Most successful cover version, by Michael Bolton, topped Billboard 1991. Got nothing bad to say here. This LP hits me as honest, heartfelt and sad in a very good way...which fits this, at the moment rather lonely guy, as a glove. Originally issued on Atlantic world wide. Premiere US no. SD/8125. French came with alternate sleeve design (Atlantic Série Panache 820 058). Japan 1988 CD on Atlantic (20P2-2368). First UK had label as shown here, thick vinyl and laminated cover. (ÄTHP*) (PÖCY*)

WOODY KERN/THE AWFUL DISCLOSURES OF MARIA MONK NSPL 18273 (-69) UK

Blues/prog/psych outfit formed 1967 in Nottingham, England, by guitarist/keybordist Rik Kenton, John Sanderson on horn and violin, bassist Mich Wheat and drummer Steve Harris. After playing locally popular club gigs they were invited to perform at the Marquee in London and there spotted by an artist agency who fixed them a contract with Pye label. Title of the album was picked from an early 19th century book about the sexual adventures of a nun. Original photo sessions for the sleeve was with a stripper picturing a nun in certain positions, but those didn't turn out as expected so instead they added a last minute face pic of drummer Steve Harris on front. As the story goes producer Jack Dorsey didn't care much for producing and was more interested in the band's groupies, so the recordings were mostly live in the studio and instead of the overdubs the band wanted Dorsey added psych effects they didn't like. Feel I have to mention the circumstances, cause when it come to performance and song-writing this is a highly enjoyable album and I guess with a more appealing sleeve consisting of "sexy nun" pics and a thorough production it could have been at least a small success at the time. Now it didn't sell at all and the band dissolved soon after. Listening today I hear a very appealing example of the genre merge that started about that time and later blossomed as "prog" or "art-rock". If you haven't heard it yet - imagine a blend of early Jethro Tull and Savoy Brown as inspired by Colosseum and Fleetwood Mac, spiced with some psych effects (messy description I know, but to my ears it's all there...funny cause in the rear notes John Peel is comparing them to Captain Beefheart and Family...so there may have been an even wider range of inspiration ). I get a mix of white blues, jazzy ballads, dreamy instrumental parts plus good sax and guitar solos. Audio on this UK press is top notch - big and clear with good separation providing very good listening. Favorite tracks - "Uncle John" frenzied with adventurous saxophone, "Gramophone Man" as Spirit covers always are welcome and "Vile Lynn" hard blues with flute and howling guitars. For more on the songs and band background check rear notes below. To say something negative - Rik Kentons vocals may be percieved as somewhat plain and a couple of the cuts sounds dangerously close to Jethro Tull, but he do nail the notes and most bands at this time copied eachother rather barefacedly so no big deal. Also originally released on Pye in Canada (same number) and France (CLVLXPY 353), but to my knowledge never issued in US. Counterfeits exist on both vinyl and CD. UK 2002 legit CD on Castle Music (CMRCD 515) came with mono single mixes of "Biography" and "Tell You I'm Gone" as bonus tracks. Premiere UK had label as shown here, thick unflexible vinyl and laminated flip-back cover. (PÖY*)

NICO/DRAMA OF EXILE AUL 715 (-81) SWEDEN

(Time for another remake and repost. Though a favorite of mine this is an LP I'm having a hard time getting my friends to like. Some shy away because they find it too wierd while others prefer her treated more gently, as by John Cale. It's hard to catalog since it could be tagged art, punk, new wave, psych or world music, or all those together. In any case I can't stop flaunting it, hoping to win over at least a few more souls for this gem...and here I go again... ) When this album is mentioned it's almost always about Nicos drug use that period or the disappearence of the original master tapes - who stole/mislaid/lost them and why. There are also different stories/legends about how many versions were made, when and where they were issued, and who had the rights to the tapes. This is about the first recorded version. Her other solo albums were all produced by John Cale with about the same result - slow and depressing with lot's of harmonium and hardly any drums. The premiere recording of this LP was handeled by bassist Philippe Quilichini and has both up-tempo drumming and a middle-eastern rythm section. Production is almost light at parts, wich provides a perfect balance to Nicos songs and her dark tattered voice. Instrumentation is sparse - bass, drums, guitar, keyboard, saxophone, bouzouki and snitra (arabian mandolin). Guitarist Mohammad Hadi is top class with a style much reminding of Robert Fripp, both in riffs and solos. Keyboards are handeled by Andy Clark - former "Clark Hutchinson" and known for his excellent work on Bowie's "Scary Monsters". David Payne (from Ian Dury's band) plays sax on a few tracks. I think it's a marvellous album with Nico finally getting the backing her music craves. It's not actual rock'n'roll, but as close as you can get with her songs. The two cover tracks - "Heroes" and "Waiting For the Man" - are absolute magic. Together with those my favorite tracks would be "One More Chance" and "Henry Hudson". The whole atmosphere is very much like Bowie's "Lodger" or "Scary Monsters", but darker and more sincere. Given time I'm sure it will be regarded as a true classic and I recommend it with all my heart. Originally released in Holland and Sweden only. Most later issues on vinyl and CD came with different tracking and/or other mixes and/or added reverb. If you wanna compare - the audio here is very distinct with prominent bass/drum and probably as she wanted it since made while she was still there. Swedish 1981 vinyl had label as shown here and thin fully laminated cover. (NÖC*) (FÄV*) (CCÖ*)

OLA & THE JANGLERS/FINGERTIP - LET'S DANCE GMG 1214 (-68) SWEDEN

This was their sixth original LP and last before original setting breakup. I'm confused deciding what title to write. Recorded under the name "Fingertip", but as the 45 "Let's Dance" became a large hit the name was changed to that during printing. So first press label has "Fingertip", while all sleeves and other label variations are titled "Let's Dance". But whatever its name it's not my favorite O&J album. I can't help hearing a band on the edge of disintegrating. While the first two LP.s were quite catchy melodic garage and the three following good pop, this lacks context like they couldn't decide direction. Just assuming here, but as some of the cuts differ in audio and volume it may be a blend of earlier unissued and newly recorded. You get self-penned and covers, dance friendly mixed with power pop and string driven ballads. Good enough though without any real top numbers. On the bright side - "Let's Dance" is a both perky and powerful cover of the Chris Montez song with nice organ and "Bird Bird" a funny self-penned trifle. I could have been without the version of Dylan's "I Want You", so slow it almost stops at a few places. The rest ok I guess, but as a whole to my taste not up there with their earlier LP:s. Also issued in Italy 1970 on Clan Celetado (BF-ES-LP 7014). US 1969 release as "Let's Dance/What A Way to Die" (GNP Crescendo GNPS 2050) with different sleeve design omitted "Hold On To What You See", "Farewell My Love", "Hear Me" and "Bird Bird", replacing them with "What I Heard Today", "Under The Ground" and "That's Why I Cry" originally on the 1967 "Under Ground" LP and "Chained And Bound" from the 1966 "Limelight". Premiere Swedish had label as shown here, heavy vinyl and fully laminated cover. (CCÖ*) (SCÄ*) (ÖJÅX*)

ROLLING STONES/30 GREATEST HITS NL 03042 (-77) MONO+STEREO ITALY

2-LP set though pressed around ten years after the fact with a track choice and an "unedited original hits" intention that should make it one of the best Stones vinyl collections. As I understand from the beginning a US project ("The Rolling Stones Greatest Hits" ABKCO DVL2-0268), then issued almost world wide but for some reason not in UK. Shown here is the Italian which seems to be the most common for sale for now. Most of the cuts well known hits, but also a couple of oddities. Record one has "Paint It Black"in stereo, the remaining as mono. A couple might be slightly enhanced, though so borderline you really have to put your head in there to grasp it. The tracks on record two are harder to distinguish since some of them are cut rather tight, but as I can hear "Lady Jane" there is mono while the rest come through with some kind of stereo. For some reason record two on this Italian copy is cut at lower volume meaning a little less clarity. As a whole maybe not the best for close listening if you're an audio freak. Still totally OK for loud parties, beer with the buddies or just good mood background to reminiscing moments. Not sure if any of the other issues has better audio or clarity. If I find one I'll be back and tell. Also released on cassette and 8-track, but to my knowledge never on CD. First Italian had label as shown here and glossy single cover. (RÅ*) (ÖTALÖ*)

ROXY MUSIC/MANIFESTO POLH 001 (-79) UK

Recorded four years after their last original studio album "Siren", an hiatus during which a live LP and a Greatest Hits were issued, members released solo albums and separately or together participated in other constellations. With this the core was down to a four-piece with Ferry, Mackay, Manzanera and Thompson, though using a seven man reinforcement on different instruments. As I get not as brave as any of its predecessors, stylistically anxious made by too much glancing at contemporary mainstream. Not in the forefront anymore, yet with enough good moments to make it worth while. For me the title track, where Bogus Man goes disco, is the best cut. "Stronger Through The Years" very elegant psych with meaty guitars. "Dance Away" a catchy disco ballad, which also became a hit single in Britain where it got to #2 while only managing #44 on Billboard. This version of that track was omitted already from the LP:s second press and replaced by the 45 mix on all later reissues till showing up again in the 1995 "Thrill Of It All" CD box set. As a whole not my favorite Roxy Music effort, but good enough to the ears and great if you can dance. Issued and reissued all over the world on vinyl and CD through the years, also cassette and 8-track. First US vinyl on ATCO (SD 38-114). Premiere UK had label as shown here, fully laminated cover and glossy lyric inner. (ÄNÖ*)

PETULA CLARK/YOU ARE MY LUCKY STAR NPL 18007 (-57) UK MONO

The last standing grand old lady of British female vocal. Today probably most known for her 1964 world wide hit "Downtown" which topped Billboard and reached #2 in UK. A singing carreer stretching from 1939 (age seven) up to this day. Her first recording released 1949, the latest so far 2018, including a production of over 60 albums and more than 130 singles - many sung in other languages as French, Italian and German. In the sixties she beacme a prominent part of "British Invasion" managing fifteen top forty hits on Billboard - where of two #1 - awarded two Grammys and nominated for a Golden Globe. Add participation in around thirty movies and a couple of TV series plus numerous sold out live performances and you have the longest lasting successful female carreer ever. This 1957 release was already her third album, though first full-length on 12 inch. A compilation of twelve film songs first made famous by US artists from late twenties up to the forties. Partly produced by Alan Freeman (1920-85), who was one of the men behind the merging of Polygon Records and Nixa Records, relsuting in Pye Nixa, wich dropped the "nixa" in 1959 and just a few years later adapted to be one of the most prominent British pop/rock labels. The songs performed here sounds typical for its time - heavily orchestrated earrings, skillfully produced and arranged with much presence and feeling. Her vocal style reminds me of contemporary Doris Day, heartfelt and beautiful in both tear drenched and jazzy up-tempo. Audio is fifties at its best - big and clear, yet warm and touching. To me one of those records where I wanna get in and stay for a while, basking in the warmth of that pleasant company. To my knowledge this original release was UK only. French and UK 1990 vinyl and CD reissues on C5 records ( C5(CD) 551). 2000 CD on Sequel (NEMCD 460) came with sixteen bonus tracks. First UK had label as shown here, very thick unflexible vinyl and fully laminated flip/back cover. (FÄV*) (PÖY*)

SAVOY BROWN/A STEP FURTHER SKL/LK 5013 UK STEREO VS. MONO

Don't debar a mono issue just because it's a fold. Sometimes one of those can actually be an improvement from a shaky or too panned stereo or, like in this case, spring up gratifyingly as product of a very good stereo with perfect compatibility. Folds are usually treated as second hand and they were in practice, but here I rather hear two ways of presenting the same result. Stereo clearer with better separation and somewhat more edge. Mono a little darker fitting the heavy blues/boogie atmosphere better and more enjoyable on loud. Maybe you have to be an accustomed monolover to enjoy that as much as the original mix, but I am and I do. Though if I had to choose, at gunpoint, it'd be the stereo because that was the initially intended, but for now I'm equally happy listening to either. Premiere UK had unboxed labels as shown here and laminated cover with die/cut mono-stereo hole on back and red or blue rim inners. (MÅW*) (CPYC*) (YMÖ*) (SÄVX*)

DEEP PURPLE/WHO DO WE THINK WE ARE? TPSA 7508 (-73) UK

After the massive success with Machine Head followed by excessive touring the band had little energy left and according to a later interview with Ian Gillian all members suffered from illness and fatigue. Nevertheless they were pushed by the label to get in to the studio without well needed rest or much preparations. As the story goes the state they were in caused turmoil within the band, members refused to communicate and many of the parts were recorded individually. With that in mind it's a quite good result though lacking some of the magic that grew from the cooperative making "In Rock", "Fireball" and "Machine Head". More uneven, but all over excellently performed with at least a couple of classic cuts. In my world "Woman From Tokyo" and "Rat Rat Blue" are killers, way up with their earlier stuff. The rest a mix of r&b, gospel and pop sound a little uninspired and even if some of the long solos shows on considerable skill you get the impression of fillers rather than heartfelt compositions. Not my favorite from the MK II setting, but not all bad and to my taste better than any later Deep Purple studio album. Issued and reissued on all possible medias all over the world through the years. Premiere UK had label as shown here with "THE GRAMOPHONE CO LTD" top left, laminated fold/out cover and lyric insert. (DHÄ*) (HÄVL*)