BLOOMFIELD,KOOPER & STILLS SUPERSESSION MINT ORIG'68 LP

$

42

    
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·       MIKE BLOOMFIELD, AL KOOPER & STEVE STILLS - SUPERSESSION - ORIGINAL 1968 COLUMBIA RECORDS STEREO LP CS-9701

·       ORIGINAL U.S. PRESSING

·       ORIGINAL RED & WHITE "360 STEREO" COLUMBIA LABEL

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

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1A/-1A'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)

(►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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As the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) had done a year earlier, Super Session (1968) initially ushered in several new phases in rock & roll's concurrent transformation. In the space of mere months, the soundscape of rock shifted radically from two- and three-minute danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. Enter the unlikely all-star triumvirate of Al Kooper (piano/organ/ondioline/vocals/guitars), Mike Bloomfield (guitar), and Stephen Stills (guitar) -- all of whom were concurrently "on hiatus" from their most recent engagements. Kooper had just split after masterminding the definitive and groundbreaking Child Is Father of the Man (1968) version of Blood, Sweat & Tears. Bloomfield was fresh from a brief stint with the likewise brass-driven Electric Flag, while Stills was late of Buffalo Springfield and still a few weeks away from a more or less full-time commitment to David Crosby and Graham Nash. Although the trio never actually performed together, the long-player was notable for idiosyncratically featuring one side led by the team of Kooper/Bloomfield and the other by Kooper/Stills. The band is ably fleshed out with the powerful rhythm section of Harvey Brooks (bass) and Eddie Hoh (drums) as well as Barry Goldberg (electric piano) on "Albert's Shuffle" and "Stop." The heavy Chicago blues contingency of Bloomfield, Brooks, and Goldberg provide a perfect outlet for the three Kooper/Bloomfield originals -- the first of which commences the project with the languid and groovy "Albert's Shuffle." The guitarist's thin tone cascades with empathetic fluidity over the propelling rhythms. Kooper's frisky organ solo alternately bops and scats along as he nudges the melody forward. The same can be said of the funky interpretation of "Stop," which had originally been a minor R&B hit for Howard Tate. Curtis Mayfield's "Man's Temptation" is given a brass-fuelled soulful reading that might have worked equally well as a Blood, Sweat & Tears cover. At over nine minutes in spin time, "His Holy Modal Majesty" is a fun trippy waltz and includes one of the most extended jams on the Kooper/Bloomfield side. The track also features the distinct hurdy-gurdy and Eastern-influenced sound of Kooper's small electric keyboard-manipulated ondioline, which has a slightly atonal and reedy timbre much like that of John Coltrane's tenor sax. Because of some physical health issues, Bloomfield was unable to complete the recording sessions and Kooper contacted Stills. Immediately his decidedly West Coast sound -- which alternated from a chiming Rickenbacker intonation to a faux pedal steel -- can be heard on the upbeat version of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry." One of the album's highlights is the churning and scintillating cover of "Season of the Witch." There is an undeniable synergy between Kooper and Stills, whose energies seems to aurally drive the other into providing some inspired interaction. Updating the blues standard "You Don't Love Me" allows Stills to sport some heavily amplified and distorted licks, which come off sounding like Jimi Hendrix. This is one of those albums that seems to get better with age. This is a super session indeed.

 (EXCERPT FROM AN ONLINE REVIEW BY STEVE HUEY, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

For additional historical or discography information on this album, including track listing ►click here

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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 EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is 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)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER

COVER IS NEAR MINT,  STILL IN ITS ORIGINAL ►SHRINK WRAP

The following flaws or imperfections are noted on the cover:

-        Cover has a partially split bottom seam (between 1 and 2 inches  / 2.5 to 5 centimeters)

-        Cover has a light "wrinkle" (crease)  in one of the corners.

-        Cover has two corners slightly worn / dinged  / bent (nothing significant)

-        Cover shows JUST A HINT of yellowing on back side, apparently from aging.

NO OTHER IMPERFECTIONS ON THE COVER:

-        No ring wear

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No writing

-        No stamps

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

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        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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