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MARIANNE FAITHFULL

 A singer whose career began with light '60s folk-pop but later channeled her turbulent personal life and years of substance abuse. Few stars of the '60s reinvented themselves as successfully as Marianne Faithfull. Coaxed into a singing career by Rolling Stones manager Andrew Loog Oldham in 1964, she had a big hit in both Britain and the U.S. with her debut single, the Jagger/Richards composition "As Tears Go By" (which prefaced the Stones' own version by a full year). Considerably more successful in her native land than the States, she had a series of hits in the mid-'60s that set her high, fragile voice against delicate orchestral pop arrangements. Not a songwriter at the outset of her career, she owes more of her fame as a '60s icon to her extraordinary beauty and her long-running romance with Mick Jagger, although she offered a taste of things to come with her compelling 1969 single "Sister Morphine," which she co-wrote (and which the Stones later released themselves on Sticky Fingers)

"LOVE IN A MIST"

'Love In A Mist' is the fourth album by Marianne released on 3 February 1967.

Many of the tracks on 'Love In A Mist' had been released months earlier on the US-only 'Faithfull Forever...' L.P. (which also featured tracks from Marianne's previous U.K. album release 'North Country Maid').

'Love In A Mist' was recorded over a broad period of time beginning with 'In The Night Time' in February 1966 and ending with 'Is This What I Get For Loving You?' in November 1966.

The L.P. was issued with a slightly different tracklisting in Belgium and Netherlands, tacking 'Is This What I Get For Loving You?', 'Et maintenant' and 'Tomorrow's Calling' whilst omitting 'Yesterday', 'Counting', 'This Little Bird', 'Ne me quitte pas' as well as 'Coquillages' her french language recording of 'Cockelshells'.

Produced by Mike Leander

1967    LP     LONDON RECORDS      DU 175 004  MONO

MADE IN HOLLAND    ORIGINAL PRESSING

LAMINATED (on front) SINGLE COVER + FLIPBACK

Barcode and Other Identifiers

Barcode: none

Label: DECCA -  BLUE LABEL w/UN-BOXED DECCA - SILVER TEXT

Catalog on cover: DU 175 004

Catalog on labels: DU 175 004 (175 004.1 L) / DU 175 004 (175 004.2 L)

Matrix / Runout (Side A, Stamped): AA 175 004 1L 1 670 1

Matrix / Runout (Side B, Stamped): AA 175 004 2L 1 670 1

On labels: rim text reads "All rights........prohibited"

MONO ?

Made in Holland

Rights Society/ Publishing: B.I.E.M., Chappell & Co. Ltd. London, Copyright Control (all boxed on labels)

On back cover: Tracklist & some credits

tracklisting

Side A: IS THIS WHAT I GET FOR LOVING YOU - YOU CAN'T GO WHERE THE ROSES GO

OUR LOVE HAS GONE - DON'T MAKE PROMISES YOU CAN'T KEEP - IN THE NIGHT TIME - ET MAINTENANT

Side B: TOMORROW'S CALLING - REASON TO BELIEVE - WITH YOU IN MIND

YOUNG GIRL BLUES - GOOD GUY - I HAVE A LOVE

  grading

RECORD VG+ but (please, read above description)

SLEEVE NEAR EX but (please, see pictures and read above description)

Of their three albums, Home's The Alchemist is the most well known, in large part because it was a progressive rock concept album. Even as prog rock concept albums go, it's still pretty obscure, but it's bound to interest prog rock collectors as an elaborate recording with similarities to the music of some other, more famous British art rock bands of the period. To roughly summarize, The Alchemist is the story of a young boy given magical powers by a dying man, warning of and then saving his hometown from a catastrophe. The alchemist who acts as a hero of the story dies at the end, for good measure. In common with some other rock concept albums of the period, then, it's a fanciful thread upon which to hang a record. The music integrates some British folkiness with blends of proficient versatile guitar (by Laurie Wisefield), then-futuristic keyboard sounds (by non-member Jimmy Anderson), and passages that range in mood from the pastoral to the verging-on-bombastic. Some spiraling guitar lines in particular recall Steve Howe's work, and while the ambition is admirable and the playing accomplished, the vocals are less impressive...(AllMusic)