EMERSON, LAKE & PALMER PICTURES AT EXHIBITION RARE ORIG '71 LP GEORGE PIROS MINT

$

47

WE CURRENTLY HAVE  MORE THAN 300  LISTED ITEMS

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·       EMERSON, LAKE & PALMER - PICTURES AT AN EXHIBITION - ORIGINAL 1971 COTILLION RECORDS STEREO LP ELP-66666 (THIS IS NOT A 1975 ATLANTIC REISSUE)

·       ORIGINAL U.S. PRESSING

·       ORIGINAL PALE BLUE/GRAY COTILLION LABEL WITH YELLOW SQUARE LOGO ON TOP

·       SPECIALTY RECORDS, OLYPHANT, PA PRESSING

·       The record has a George Piros’ name or  his initials (GP) clearly stamped or hand-etched in the trail-off vinyl (dead wax)

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

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

(►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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Pictures at an Exhibition was one of the seminal documents of the progressive rock era, a record that made its way into the collections of millions of high-school kids who never heard of composer Modest Mussorgsky and knew nothing of Russia's Nationalist "Five" or artist/architect Victor Hartmann, whose work was the inspiration for Mussorgsky. Chronologically, it was Emerson, Lake & Palmer's third LP release (they didn't regard it as an "official" album, as it was comprised of only part of a longer live performance), but for a lot of teenagers who'd missed out on the trio's self-titled debut album or resisted the unfamiliarity of Tarkus, Pictures -- which was budget-priced in its original LP release in England and America -- with its bracing live ambience and blazing pyrotechnics, was the album that put the group over, and did it with exactly the same kids who turned Jethro Tull's Aqualung and Thick as a Brick and Yes' Fragile into standard-issue accouterments of teenage suburban life. And, indeed, like the Tull and Yes albums, it worked on several levels that allowed widely divergent audiences to embrace it -- with the added stimulus of certain controlled substances, it teased the brain with its mix of melody and heavy rock, and for anyone with some musical knowledge, serious or casual, it was a sufficiently bold use of Mussorgsky's original to stimulate hours of delightful listening. It wasn't the first treatment of a classical piece in this manner by any means -- Keith Emerson had done several previously with his earlier group the Nice -- but it was the first to reach a mass audience or get heavy radio play (at least of excerpts), and introduced the notion of "classical rock" to millions of listeners, including the classical community, most of whose members regarded this record as something akin to an armed assault. Those with less hidebound sensibilities appreciated Emerson's rollicking and delightful "Blues Variations" -- which bridged the gap between Tarkus and Trilogy -- and Greg Lake's lyrical adaptations of "Promenade," "The Sage," and "The Great Gates of Kiev." It does some violence to Mussorgsky in the process, but is also the most concise, energetic, and well-realized live release in ELP's catalog, the hall small enough to capture the finer nuances of the playing by all three members of the trio, and especially the muscular bass work by Lake that keeps pushing the performance forward. It was great fun (an element missing from a good deal of progressive rock) in 1972, and it's still fun in 2011. It also made a fairly compelling case for adapting classical pieces in this way -- ELP would later succeed with adaptations of works by Aaron Copland and Alberto Ginastera, among others, but this would be the longest such work to find mass listenership, sufficient so that in the late '80s there would be a legitimate classical organ arrangement put out by the Dorian label that referred to ELP's rendition as its linear predecessor. Emerson is the dominant musical personality here, but Lake (who also gets to play some classical guitar) and Palmer get the spotlight more than enough to prevent it from being a pure keyboard showcase.

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

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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  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 a poly-lined inner sleeve, which has - apparently with success - shielded the vinyl from the harmful impact of elements over many years!

(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

THE COVER IS NEAR MINT !

The following flaws or imperfections are noted on the cover:

-         Cover has JUST A HINT of 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 1.

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

-         Cover shows JUST A HINT of yellowing on both sides, apparently from aging.

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        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 wrinkles or creases

-        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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