GERRY & PACEMAKERS HOW DO YOU LIKE IT RARE ORIG '63 UK COLUMBIA/EMI MONO LP MINT

$

49

WE CURRENTLY HAVE  NEARLY 500  LISTED ITEMS

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·       GERRY AND THE PACEMAKERS – HOW DO YOU LIKE IT? – ORIGINAL BRITISH MONO PRESSING - THE GROUP’S FIRST STUDIO ALBUM – ORIGINAL 1963 COLUMBIA RECORDS (UK) MONO LP 33SX-1546

·       ORIGINAL U.K. PRESSING

·       ORIGINAL BLACK COLUMBIA (UK) LABEL WITH TURQUOISE (AQUA BLUE) LOGO ON TOP AND SILVER PRINT

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.K. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THIN CARDBOARD COVER (EUROPEAN STYLE)

·       ORIGINAL GARROD & LOFTHOUSE LTD FLIP-BACK COVER (1/2-INCH MARGINS OF THE FRONT PANEL ARE FOLDED AND THEN PASTED ONTO THE BACK PANEL)

·       ORIGINAL LAMINATED COVER

·       CLEAN, WEAR-FREE LABELS

·       BRITISH TAX STAMP T-K AROUND THE SPINDLE  HOLE SIGNIFIES THAT THE DISC WAS PRESSED BEFORE NOVEMBER 1968 (PROBABLY LONG BEFORE)

·       THICK, HEAVY VINYL PRESSING

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1N'  ON BOTH SIDES

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

·       MONO version of this album has NEVER been available on legitimate Compact Disc or in any other digital format.

(►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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Gerry & the Pacemakers' debut album, produced by George Martin and Ron Richards, is representative of the mainstream Liverpool sound beyond the Beatles, circa 1963. Gerry & the Pacemakers based their music around American R&B ballads, coupled with a delight in straight-ahead rock & roll and country music with a beat, in a manner similar to the Beatles. Gerry Marsden was a fairly powerful singer and a more natural (but not necessarily better) rock & roll guitarist than George Harrison, as revealed by his crunchy playing on numbers like "A Shot of Rhythm and Blues," "Jambalaya," and "The Wrong Yo-Yo," and his lively solo on "Maybelline" -- the problem was that neither he nor the rest of the band could match the Beatles for style. Drummer Freddie Marsden, despite much quicker hands, wasn't nearly as distinctive as Ringo Starr, and Les Chadwick's bass work was weighty, but not a third as interesting as Paul McCartney's, and Gerry's singing never came close to Paul's. When you add in the fact that their in-house songwriting was almost non-existent here, and their backing harmony vocals were a shadow of what the Beatles could produce, the result is a more limited quantity; How Do You Like It isn't as good an album as Please Please Me or With the Beatles, but it also reveals a band that was already 85-percent as interesting and complex as it was ever going to be. On the other hand, the group does rock out, which is all they really ever set out to do, and on those terms they're pretty engaging -- their covers of Hank Williams' "Jambalaya," Larry Williams' "Slow Down" and the Piano Red/Carl Perkins number "The Wrong Yo-Yo" are more than a little diverting, good examples of the classic, thumping Liverpool sound. Their version of the Arthur Alexander number "Where Have You Been" is moving and passionate, if not as well sung as the Searchers' rendition. And as the T.A.M.I. Show revealed, Chuck Berry didn't mind jamming with Marsden on "Maybellene." The 1997 EMI 100th Anniversary edition, remastered in 20-bit digital sound, is close and loud, and features both the stereo and mono versions of the album -- the mono version is punchier and more enveloping, but the stereo has its virtues, separating the voices and instruments binaurally, as was the custom in those days, which allows the listener to pick them apart, if anyone wants to analyze Gerry's guitar, Marsden's drumming, or Les Maguire's piano playing that closely; it's a reminder of what EMI is not permitting us to do with the Beatles' first two albums and early singles.

(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 the original poly-lined “Made in Great Britain” stock inner sleeve.

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

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

The following flaws or imperfections are noted on the cover:

-        Cover has a few tiny wrinkles along the seams  (nothing significant)

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

-         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 (front side) and 2 (back side)

-         Cover has two corners slightly dinged (nothing significant)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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