BUFFY SAINTE MARIE Illuminations LP VANGUARD COMET 1971 ITA re+180gr VSD-79300
  €   25
  $   29

 


€ 25 Sold For
Aug 10, 2023 Sold Date
Jun 11, 2022 Start Date
1 Number Of Bids
  Italy Country Of Seller
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Description

THIS IS THE 2000 ITALIAN REPRESSING on VANGUARD/COMET Records. Released on an Gold Vanguard label. STEREO VERSION. SINGLE COVER + 180GR VINYL. The cover is in NEAR MINT condition: normal wear and without any deterioration, left spine is fully readable; for details see photos (with and without flashlight). The vinyl is in NEAR MINT condition and plays wonderfully.

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BUFFY SAINTE-MARIE

Buffy Sainte-Marie has enjoyed a long career that has seen her rise to stardom on the folk circuit and try her hand at country, rock, soundtrack themes, acting, activism, and children's television. For most listeners, she remains identified with the material she wrote and sang for Vanguard in the mid-'60s. Many of her songs addressed the plight of the Native American, particularly "Now That the Buffalo's Gone" and "My Country 'Tis of Thy People You're Dying," which generated the most controversy. Yet she was also skilled at addressing broader themes of war and justice ("Universal Soldier") and romance ("Until It's Time for You to Go"). She was also a capable interpreter of outside material...

"ILLUMINATIONS"

<reissue, originally published 1970>

LP     VANGUARD/COMET RECORDS      STEREO   VSD∙79300

MADE IN ITALY    2000/2001 REPRESSING

180GR VIRGIN VINYL 

SINGLE COVER

Barcode and Other Identifiers

Barcode: none

LABEL:  VANGUARD - GOLD LABEL - BLACK TEXT

Catalog on cover: (front & spine) VSD∙79300  (rear) vsd∙79300 

Catalog on labels: VSD 79300

Matrix / Runout (Side A, Stamped): VSD 79300 A  33 RPM

Matrix / Runout (Side B, Stamped): VSD 79300 B  33 RP M

On labels: top rim text "Recordings For VANGUARD The Connoisseur"

bottom rim text: "The Lancer image    STEREO"   "All Rights.......Prohibited"

On back cover: Tracklist + Credits

Vanguard Records...........

VANGUARD in ITALY is COMET RECORDS

tracklisting

Side A: GOD IS ALIVE, MAGIC IS AFOOT - MARY - BETTER TO FIND OUT FOR YOURSELF

THE VAMPIRE - ADAM - THE DREAM TREE

Side B: SUFFER THE LITTLE CHILDREN - THE ANGEL - WITH YOU, HONEY

GUESS WHO I SAW IN PARIS - HE'S A KEEPER OF THE FIRE - POPPIES

  grading

RECORD NEAR MINT but (please, read above description)

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

In the year 2000, the Wire magazine picked this spaced out gem from Native American folksinger and activist Buffy Sainte-Marie as one the "100 Albums That Set the World on Fire." 

Interestingly enough, it's a record Sainte-Marie doesn't even list on her discography on her website. It doesn't matter whether she cares for it or not, of course, because Illuminations is as prophetic a record as the first album by Can or the psychedelic work of John Martin on Solid Air. For starters, all of the sounds with the exception of a lead guitar on one track and a rhythm section employed on three of the last four selections are completely synthesized from the voice and guitar of Sainte-Marie herself. There are tracks whose vocals are completely electronically altered and seem to come from the ether -- check out "Mary" and "Better to Find Out for Yourself" as a sample. But the track "Adam," with its distorted bassline and Sainte-Marie throwing her voice all over the mix in a tale of Adam's fall and his realization -- too late -- that he could have lived forever, is a spooky, wondrous tune as full of magic as it is mystery and electronic innovation. The songs here, while clearly written, are open form structures that, despite their brevity (the longest cut here is under four minutes), break down the barriers between folk music, rock, pop, European avant-garde music and Native American styles (this is some of the same territory Tim Buckley explores on Lorca and Starsailor). It's not a synthesis in any way, but a completely different mode of travel. This is poetry as musical tapestry and music as mythopoetic sonic landscape; the weirdness on this disc is over-exaggerated in comparison to its poetic beauty...(AllMusic)





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