FRED NEIL BLEECKER+MACDOUGAL ORIG 1965 ELEKTRA STEREO LP GUITAR LABEL

$

204

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·       FRED NEIL – BLEECKER AND MACDOUGAL – ULTRA-RARE ORIGINAL 1965 ELEKTRA RECORDS STEREO LP EKS-7293

·       ORIGINAL U.S. PRESSING

·       EXTREMELY RARE ORIGINAL WHITE AND GOLD ELEKTRA STEREO LABEL WITH A “GUITAR PLAYER” LOGO

·       MONSTROUSLY RARE STEREO PRESSING, MANY TIMES RARER THAN MONO (THE ORIGINAL STEREO PRESSING OF THIS ALBUM IS EASILY ONE OF THE RAREST EARLY ELEKTRA RELEASES: IN 13 YEARS ON EBAY, THIS IS ONLY THE SECOND COPY WE HAVE BEEN ABLE TO OFFER)

·       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

·       THE RECORD HAS A DATE STAMP OF 5-28-65 HAND-ETCHED IN THE TRAIL-OFF VINYL (DEAD WAX)

(►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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Given the late Fred Neil's near mythic reputation as a songwriter, singer, environmentalist, and recluse, the reissue of his 1965 album Bleecker & MacDougal is of historic importance. But rather than being an artifact of the man who wrote "Everybody's Talkin'," "Other Side to This Life" (which appears here), and "Dolphins," this album is made of the material that gave Neil his enigmatic presence. This is a highly evocative and emotionally charged set of material, nearly all of which Neil composed. The lineup on the album was similar to his previous outing with Vince Martin, and featured John Sebastian on harmonica, Felix Pappalardi on bass, and guitarist Pete Childs (who also played dobro and electric on the date -- the latter was heresy for a folk record), with Neil playing 12-string. The pace of the set is devastating, from the greasy blues of the title track to the strolling darkness of "Blues on the Ceiling," the jug band stomp of "Sweet Mama," and the balladic heraldry of "Little Bit of Rain," a dynamic Tim Buckley would bring his own magic to as he emulated it a few years later. In addition, there's the tough Chicago blues meets California swagger of "Country Boy," which Mike Bloomfield and Paul Butterfield would perfect two scant years later. "Other Side to This Life" is its own elegiac painting in sound, with glistening dirge-like textures caressed by Neil's baritone. The tough, battered "Travelin' Shoes" is an early example of folk-rock with a big accent on the word "rock." Yet, on the album's lone cover, a gorgeously wrought and multi-textured rendition of "The Water Is Wide," Neil added spare, haunting jazz overtones to the arrangements, transcending the folk coffeehouse prison the song had been encased in for a decade. In fact, if one listens to Bryter Layter by Nick Drake, it would be easy to hear the connection. The album closes with the winding dobro that sparks "Gone Again," underlining the album's feeling of rambling transience and willful acceptance of both the graces and hardships life offers. In 13 songs, Neil transformed the folk genre into something wholly other yet not unfamiliar to itself, and helped pave the way for an entire generation of singer/songwriters who cared as much for the blues as they did for folk revival traditions. This is the Fred Neil record to have.

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

Ladies and Gentlemen --- we have a privilege of presenting to you the KING of all folk albums of the 1960's. What we have here is the ORIGINAL ELEKTRA pressing (and giga-rare STEREO version, to boot) of the Fred Neil's first, legendary "Bleecker and Macdougal" album , from 1965. Of all minor-key, Greenwich Village-born 1960's albums, this one has got to be one of the moodiest, minor-key-est and most resonant of them all, certainly in terms of its delicate poetic vibe, overall texture, structure and form (contents, too). It also happens to be one of Fred Neil's most beloved works and one of the true gems of the pre-psychedelic singers/songwriters era. Recorded in a series of tense, convulsive sessions which threatened to tear Elektra label apart during the summer of 1965 (see a truly extraordinary article on Fred Neil in the March 2000 issue of the MOJO magazine for the  description of the sessions), Fred Neil recorded this gorgeous work just months before he would get his first big break with the immortal "Everybody's Talkin'" from 1966, and just as he was starting contemplating the direction his music and his life were taking at this point. He apparently believed that he was needlessly being pushed into commercialism and he decided to take a 180 -degree turn. Before he exploded into full-fledged hermeticism of the "Sessions" (1967), he managed to record the album that everyone could - and would - love, and relate to. This is the music to drift away by. A timeless piece of meditative, transcendent, luminous poetry, backed by an incredibly talented and competent, but also unobtrusive and subtle bunch of musicians (in which John B.Sebastian and Felix Pappalardi figure prominently) . The original album, recorded for ELEKTRA, sold a meager few thousand copies and promptly disappeared from the stores. Grab this great, legendary pre-psych folk album before someone else does!!! Track listing: Bleecker & Macdougal - Blues on the ceiling - Sweet Mama - Little Bit of Rain - Country Boy - Other Side of this life - Mississippi Train - Travelin' Shoes - Water is wide - Yonder comes the blues - Candy Man - Handful of gimme - Gone again.

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

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS ARTIST   ►CLICK HERE

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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 VERY GOOD++ . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 1.1/4 inches (1 inch = 2.5 centimeters)

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

(d)          Stereo  pressing of this title is much rarer, and by far more preferable to its mono  counterpart. The mix is more graphic, the sound resolution more precise, and the channel separation (which does not exist on mono version) adds a whole new dimension to the music. Also, the stereo mixes are (by definition) somewhat different than on the mono version. We estimate that mono copies of this album outnumber stereo copies  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 (THIS IS THE ORIGINAL, LAMINATED, GLOSSY COVER):

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

The following flaws or imperfections are noted on the cover:

-         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 1 (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 a partially split bottom seam (less than 1 inch / 2.5 centimeters)

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

-         Minor shelf wear noted on the bottom seam and the opening side (nothing significant)

-         Back cover has a few yellowish dust speckles scattered here and there (these tiny spots are not overly obtrusive or distracting)

-         The laminated cover has a slight loss (flaking) of lamination along the opening edge (this is a common problem with most laminated 50’s and 60’s covers; lamination is just beginning to peel-off along the opening edge; however, since the underlying layer of the cover is ALSO laminated, the peeled-off spots are only a minor visual distraction

NO OTHER IMPERFECTIONS ON THE COVER:

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No wrinkles or creases

-        No writing

-        No stamps

-        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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POSTAGE & SHIPPING:

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