CRITTERS TOUCH 'N' GO RARE ORIG 1967 PROJECT 3 TOTAL SOUND STEREO PSYCH LP 1S

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·       THE CRITTERS – TOUCH’N’GO WITH THE CRITTERS (THE GROUP’S FIRST ALBUM) – VERY RARE ENOCH LIGHT-PRODUCED SUNSHINE POP (BAROQUE PSYCH) ALBUM – ORIGINAL 1967 PROJECT 3 STEREO LP PR-4001-SD

·       ORIGINAL U.S. PRESSING

·       ORIGINAL PROJECT 3 STEREO RED & WHITE LABEL

·       ORIGINAL ‘PHASE 3’ 35-MM MAGNETIC FILM MASTER RECORDING

·       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.

·       ORIGINAL LAMINATED COVER

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1S/-2S'.  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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This New Jersey quintet's second album, Touch n' Go With the Critters, was the group's first outing for arranger/conductor Enoch Light's Project 3 label, which was devoted to using cutting-edge "enhanced stereo" technology, the best available. By now, only the group's de facto leader, guitarist Jim Ryan (a founding Critter, he had been in the high school band called the Vibratones with Don Ciccone, who sang the lead vocals on the band's impressive hit "Mr. Dyingly Sad"), and bassist Kenneth Gorka remained in the lineup from the band's earlier Kapp period. Nevertheless, the performances as evidenced here are still first-rate, and the amazing stereo production and songwriting are among the best of the group's career. The title song, "Touch N' Go," was written by Alan Gordon and Gary Bonner, the great songwriting team who had been members of the New York-based group the Magicians a few years earlier; they also wrote the Turtles' "Happy Together" and "She'd Rather Be With Me," among others. The "Touch N' Go" track and a handful others, including the Tim Hardin cover "Reason to Believe," were produced by Charles Koppelman and Don Rubin, who also managed the Critters. The remaining tracks were produced by Ryan. There's a nice version of the Lovin' Spoonful's "Younger Generation" (John Sebastian's "Younger Girl"had provided a huge hit already, so why not see if lightning strikes twice?). The Critters were subsequently featured on Light's "Popular Science" series of stereo/quad test LPs, and recorded another album for the label, but hits continued to elude the group thereafter. Ryan later worked with Carly Simon, while Spinella went on to join Steeplechase. Gorka later became the manager of Bitter End in New York City. Darway became inventor in residence at Princeton University. This album is often considered one of the top harmony pop LPs of all time, an East Coast classic highly treasured by collectors.

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

The original master for this Phase 3 album was recorded on 35 millimeter magnetic film, rather than on 1/4 or 1/2-inch tape. 35-mm magnetic film recording offers many advantages over more conventional tape recordings; these advantages become most important and exciting in recording of very large orchestras.

(1)            Film has no flutter because of the closed loop sprocketed guide path which holds it firmly against the recording head.

(2)            35-mm film is more than four times as wide as the 1/4-inch tape, thus the film is able to carry the equivalent of three 1/4-inch tape tracks with more than enough space between each track to guarantee absolute separation of channels.

(3)            The thickness of the film - 5 mils (three times thicker than tape) greatly reduces the possibility of contamination by print-through.

(4)            Excellent Frequency response is assured by the fast speed at which the film, travels: 18 inches per second, or 90 feet per minute - and the low impedance head system.

(5)            The wider track allows for a very wide, previously unheard of range of dynamics without distortion.

(6)            The Great tensile strength of film and the sprocket drive effectively eliminates any pitch glitches due to 'tape stretch'.

(7)            Signal-to-noise ratio is far superior.

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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 STRONG VG++. A few light abrasions  ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For 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 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!

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

(d)          Mono copies of this album are NOT known to exist.

·       COVER (THIS IS THE ORIGINAL, LAMINATED, GLOSSY COVER):

THE COVER IS ABOUT VERY GOOD+(+)

The following flaws or imperfections are noted on the cover:

-        A visible water stain affects about 10-15% of the back cover (practically invisible on the front, except for a few tiny blemishes); there is no structural damage to the cover, and both cardboard base and paper slick are intact, however, the stain is visible and has caused some erosion in the firmness of the cover ,  visible yellowish discoloration, a few microscopic peel-off marks and a slight warp in the affected area.

-         Cover has a partially split bottom seam (between 2 and 4 inches  / 5 to 10 centimeters)

-         Cover has some fraying/wear along the lower seam

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

-         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 shows some light yellowing on back side, apparently from aging  (nothing significant).

-         Cover has three corners slightly worn / dinged / bent.

-         The laminated cover has a few air 'bubbles' and wrinkles in lamination (this is a common problem with most laminated 50’s and 60’s covers

NO OTHER IMPERFECTIONS ON THE COVER:

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No writing

-        No stamps

-        No stickers or labels

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

-        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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