ANIMALS WINDS OF CHANGE NR MINT ORIG 1967 MGM MONO LP

$

71

    
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·       ERIC BURDON AND THE ANIMALS - WINDS OF CHANGE - ORIGINAL 1967 MGM RECORDS MONO LP E-4484

·       ORIGINAL U.S. PRESSING

·       RARE MONO PRESSING, MANY TIMES RARER THAN STEREO

·       ORIGINAL BLACK  MGM LABEL WITH MULTICOLORED “ROARRING LION” LOGO, EARLY-TO-MID 60’S STYLE.

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL GATEFOLD COVER, MADE OF THICK CARDBOARD (AMERICAN STYLE) 

·       COVER HAS A NIFTY 'PLUG' STICKER STILL AFFIXED TO THE WRAP.

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

·       MONO version of this album has NEVER been available on legitimate Compact Disc or in any other digital format.

 (►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you'll get.  GUARANTEED!)

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Winds of Change opened the psychedelic era in the history of Eric Burdon & the Animals -- although Burdon's drug experiences had taken a great leap forward months earlier with his first acid trip, and he and the group had generated some startlingly fresh-sounding singles in the intervening time, it was Winds of Change that plunged the group headfirst into the new music. The record was more or less divided into two distinctly different sides, the first more conceptual and ambitious psychedelic mood pieces and the second comprised of more conventionally structured songs, although even these were hard, mostly bluesy and blues-based rock, their jumping-off point closer to Jimi Hendrix than Sonny Boy Williamson. The band's new era opened with waves washing over the title track, which included sitar and electric violin, while Burdon's voice, awash in reverb, calmly recited a lyric that dropped a lot of major names from blues, jazz, and rock. "Poem by the Sea" was a recitation by Burdon, amid a swirl of echo-drenched instruments, and it led into one of the group's handful of memorable covers from this period, "Paint It Black" -- driven by John Weider's electric violin and Vic Briggs' guitar, and featuring an extended vocal improvisation by Burdon, their approach to the song was good enough to make it part of the group's set at the Monterey International Pop Festival that June, and also to get a spot in the documentary movie that followed. "The Black Plague" opens with a Gregorian chant structure that recalls "Still I'm Sad" by the Yardbirds, and was another vehicle for Burdon's surreal spoken contributions. There were also, as with most of the group's work from this period, a few easily accessible tracks that could make good singles, in this instance "Good Times" and "San Franciscan Nights," a Top Ten record in various countries around the world in the last quarter of 1967, although, as Alan Clayson points out in his notes, the latter song was overlooked in England for nearly 12 months after its release elsewhere, and then appeared as the B-side to the relatively straightforward, brooding, moody rocker "Anywhere." Burdon was so inspired by Jimi Hendrix's music that he wrote one of the psychedelic era's rare "answer" songs, "Yes I Am Experienced," as an homage to the guitarist; the latter's influence could also be heard in "It's All Meat," the LP's closing track, and a song that calls to mind an aspect of this band that a lot of scholars in earlier years overlooked -- the fact that Briggs, Weider, et al. had the skills to make music in that style that was convincing and that worked on record, on their terms.

(REVIEW REPRINTED COURTESY OF BRUCE EDER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

With two of the biggest later-period hits of Eric Burdon and the Animals career (San Franciscan Nights, and Good Times – the latter being our favorite Animals song) this is one of the most lasting, enduring works by the band. Great album in every sense. British blues meets west coast psychedelia and they have  a wild freakout party with a LOT of acid on hand.

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THIS IS A NO-RESERVE AUCTION!

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·       CONDITION:

·       RECORD

 (IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL  AS  (WEAK) NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs -  are (barely) visible, but are probably inaudible,  and do not affect visual integrity or beauty of the vinyl. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

(b)          The record comes in the original stock inner sleeve.

(c)           The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(d)          Mono pressing of this title is much rarer, and by far more  preferable to its stereo counterpart. We think that the mix is more natural, humane, "organic" and that the mixes are somewhat different than on the stereo version. We estimate that stereo copies of this album outnumber mono pressings by a ratio of at least 5:1.

(e)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER

THE COVER IS NICE --- ABOUT VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-        The cover has a distinct X-shaped, pressure-type cutout stamp. This type of cutout marking was used exclusively by MGM and Verve labels and was more discreet and sensitive than the other types of marking (such as cutout holes or drill marks), as it did not require the cover to be damaged.

-        Cover has a small, neat, circular cutout hole in one of the corners

-        Cover has 4 tiny, almost invisible, pinholes (or staple holes) in one corner. These tiny holes are NOT cutout holes.

-        Cover has some light ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 2 (front side) and 4 (back side)

-        Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record),  probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearance to a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.

-        Cover has a few tiny wrinkles along the spine

-        Minor shelf wear noted on the top and bottom seams (nothing significant)

-        Cover shows some light yellowing on back side, apparently from aging. Yellowing is also noted on the INSIDE gatefold

-        Cover has some tiny, faint writing on its back side (a microscopic price code written in one corner)

-        Cover has a small original price sticker, which may be possible to remove with a little effort (we did not attempt to)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No cut-out corners

-        No saw-marks or indents

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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POSTAGE & SHIPPING:

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