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FRED NEIL

with FELIX PAPPALARDI or DOUGLAS HATLELID bass,

 PETE CHILDS 2nd guitar & dobro, JOHN SEBASTIAN harmonica

Moody, bluesy, and melodic, Fred Neil was one of the most compelling folk-rockers to emerge from Greenwich Village in the mid-'60s. His albums showcased his extraordinarily low, rich voice on intensely personal and reflective compositions, sounding like a cross between Tim Buckley and Tim Hardin.

<reissue, originally published in 1965 under the title "Bleecker & MacDougal">

Produced by Mark Abramson & Paul Rothchild except* by Barry Friedman 

LP     ELEKTRA RECORDS      EKS-74073  STEREO

PRINTED IN USA    MID-70s REPRESSING

STILL IN SHRINK SINGLE SLEEVE

HEAVY CARDBOARD COVER

This version: This album was previously released in 1965 under the title "Bleecker & MacDougal"

On Elektra 'Butterfly'label with on rim "W" (Warner) reference of the Mid-70s pressings

Barcode and Other Identifiers

Barcode: none

LABEL: ELEKTRA -  BUTTERFLY LABEL - BLACK TEXT

Catalog on cover: EKS-74073

Catalog on labels: EKS-74073-A SP / EKS-77073-B SP

Matrix / Runout (Side A, Stamped): SRC     (Etched): EKS 74073 A-SP   l-l

Matrix / Runout (Side B, Stamped): SRC     (Etched): EKS 74073 B-SP   l-l

On labels: rim text reads "Mfg. by Elektra/Asylum/Nonesuch......of Warner Communications Inc. W"

Produced by Paul A. Rothchild

On back cover: Production Supervisor Jac Holzman

Elektra Records 15 Columbus Circle  New York City 10023

Printed in U.S.A.(bottom right corner)

tracklisting

Side A: BLEECKER & MacDOUGAL - BLUES ON THE CEILING - SWEET MAMA

LITTLE BIT OF RAIN - COUNTRY BOY - OTHER SIDE TO THIS LIFE - MISSISSIPPI TRAIN

Side B: TRAVELIN' SHOES - THE WATER IS WIDE - YONDER COMES THE BLUES

CANDY MAN - HANDFUL OF GIMME - GONE AGAIN

RECORD EX but (please, read above description)

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

Given the late Fred Neil's near mythic reputation as a songwriter, singer, environmentalist, and recluse, 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...(AllMusic)