MAD RIVER PARADISE BAR AND GRILL '69 JACKSONVILLE PRESS RURAL SF PSYCH SHRINK NM

$

50

"MAD RIVER- PARADISE BAR AND GRILL"

1969 Capitol ST-185 label

The condition of the cover is M- STILL IN THE ORIGINAL SHRINK WRAP (see photos)!  There is a drill hole in the lower right corner, no seam splits or writing.  The condition of the disc is also a beautiful M-!

• Matrix / Runout (Runout etching side A): ST 1 185 W1
• Matrix / Runout (Runout etching side B): ST 2 185 W1
• Matrix / Runout (Runout etching - both sides): O
• MINTY CLEAN...scarce... Original 1970 first pressing of the SECOND and LAST album by MAD RIVER ... feturing the killer acid-rock nugget "Academy Cemetary" pressed on the original lime green Capitol label -- Capitol only pressed this label approx 18 months - all classic rock & psych Lp's pressed on lime green Capitol are sought after and scarce!
  Featuring the outstanding psychedelic nugget "Academy Cemetery"
  Here the second and last MAD RIVER album...
• A group of talented San Francisco Sound hippies who played along side the best of the rest of the Ballroom & club scene in the Summer Of Love '67 thru 1970...
  In the onslaught of innovative San Francisco Bay Area psychedelic bands that recorded in the late 1960s, it was inevitable that some would get unfairly overlooked. Foremost among them were Mad River, whose two Capitol albums made barely a ripple saleswise. Overexposure of the San Francisco scene, however, was likely only part of the reason for their commercial failure. For Mad River were one of the hardest psychedelic bands to get a handle on, their eclecticism, oblique lyrics, and tortuous multi-segmented songs defying quick summation. It may not have helped that Mad River's brand of psychedelia was decidedly dark, often venturing into distraught visions in stark opposition to the feel-good stereotype of the San Francisco Sound.
  Their second and final album, 1969's Paradise Bar and Grill , was for the most part an abrupt about-face from their first. The tracks largely retreated into the calmness of rural-rock. At the same time, the band's propensity for inscrutable acidic tunes with hard rock guitar and impossible-to-hum melodies did rear its head, making for an extremely diffuse record that seemed torn between several artistic paths.
  The instrumental opener, "Harfy Magnum," indicated the band may have been listening to John Fahey, with its similar avant-garde-tinged folk guitar. Hammond got to stretch his sorrowful vocals to the max on the rural-rock title track, and Richard Brautigan provided the words and spoken narration for "Love's Not the Way to Treat a Friend," backed by mellow folk picking. (Mad River, mindful of Brautigan's kindness when they were starving, had used some of their Capitol advance to pay for the printing of Brautigan's collection of poems, "Please Plant This Book.") 
• Having prepared the listener for an easygoing hippie rock record, on "Leave Me/Stay" the band then veered back into the agonized hard rock that had typified the previous LP.
  This was an extremely downcast romantic lament, as if the desperation of Mad River's "Eastern Light" had been followed by the desertion Hammond seemed to have feared all along. The jarring roller coaster ride continued with the good-time uptempo honky-tonker "Copper Plates" and the quasi-classical guitar-and-recorder instrumental "Equinox."
  The second side of the LP was no more predictable, "They Brought Sadness" being yet another lyric punctuated by twisting, occasionally atonal guitar. "Revolution in My Pocket" broke up strutting rock verses with odd stretches of serene folk guitar and wordless humming, segueing into "Academy Cemetery," an amazing psychedelic-acid laced showcase for squiggly electric guitar leads backed by strong drumming. And what could follow that, of course, but another homespun slice of rustic-rock, "Cherokee Queen"? It is hard to imagine exactly how Capitol planned to market such an all-over-the-place effort, yet the album did peek into the charts.
  Frustrated by their lack of recognition, Mad River broke up by the end of the 1960s, most likely victims of the daring recklessness of their musical experimentation. Yet this disc, combining both of their Capitol albums, testifies to their place among the most durable and intriguing San Francisco bands of their era
  

RARE 1969 ORIGINAL JACKSONVILLE PRESSING IN TOP NICK!

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