MICHAEL NESMITH (MONKEES) WICHITA TRAIN VERY RARE ORIG'68 DOT PROMO-ONLY MONO LP

$

59

    
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·       MIKE NESMITH – MICHAEL NESMITH PRESENTS:  THE WICHITA TRAIN WHISTLE SINGS – ORIGINAL 1968 DOT RECORDS MONO LP DLP-3861

·       ORIGINAL U.S. PRESSING

·       *** ULTRA-RARE PROMOTIONAL-ONLY MONO COPY; MONO VERSION OF THIS ALBUM WAS NEVER COMMERCIALLY RELEASED IN ANY WAY OR FORM ***

·       *** PROMOTIONAL COPY; THE RECORDS HAS STOCK LABELS; HOWEVER, THE PROMOTIONAL EMBOSSED STAMP ON THE COVER CLEARLY IDENTIFIES THE ITEM AS PROMOTIONAL ***

·       ORIGINAL BLACK DOT LABEL WITH RED LOGO

·       DEEP GROOVE PRESSING

·       ORIGINAL UNIPAC-STYLE COVER (ONE SIDE OF THE GATEFOLD OPENS, THE OTHER ONE IS A SINGLE-PLY CARDBOARD); THIS IS A REGULAR STEREO COVER WITH A MONO STICKER AFFIXED TO THE FRONT PANEL; NO "PROPER" MONO COVERS WERE EVER PRODUCED FOR THIS TITLE

·       ORIGINAL DIE-CUT COVER.

·       CLEAN, WEAR-FREE LABELS

·       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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It took over three decades before Michael Nesmith would consent to any subsequent pressings of the instrumental Wichita Train Whistle Sings album. However, overwhelming requests -- as well as the reality that savvy enthusiasts had already began creating their own inferior CD-R versions -- convinced Nez to quietly reissue the title under the auspices of his own Videoranch label. The legend of this sonic oddity fits in well with the other peculiarities inherent in the Monkees' collective saga. In order to legally circumvent what would have been by all accounts a crippling income tax assessment, Nesmith cleverly financed this one-off scheme. In keeping with his goals, a 52-piece ensemble of studio all-stars was hired for a two-day session on November 18 and 19, 1967, at RCA Studios in Hollywood. Likewise, Nez had the whole affair catered by Chasen's Restaurant. When Dot Records issued the album in August of the following year, it received very little attention except from the inevitably confused Monkees fans. Their reaction was easily understandable as the songs -- most of which were Nesmith's solid contributions on the first four Monkees long-players -- had been given a decidedly orchestral overhaul. Immediately evident is the big-band style in which these sides were physically documented -- incorporating an open microphone placement which is used when recording larger orchestration. The resulting effect lends a natural-sounding warmth that closely miked and/or amplified techniques often lack. The music itself reflects Nesmith's left-of-center attitude and often unpredictable sense of humor. For instance, the full-bodied and otherwise bombastic arrangement of "Nine Times Blue" is speared right through the middle with a Doug Dillard banjo solo. He throttles up the tempo as the full orchestra breaks into a double-time mambo for the second half of the song. Other reinventions include the once psychedelic "Tapioca Tundra" into a freewheeling escapade replete with a soaring string section that remains amazingly agile throughout. The Wichita Train Whistle Sings project also allowed Nesmith the opportunity to record a few songs that he would revisit during his solo career, such as the pseudonym-esque "Carlisle Wheeling." The strict, if not somewhat lumbering, 4/4 time signature performed here is the antithesis of the easy country-rock sound most synonymous with the tune. He would eventually issue it under the name "Conversations" on his second solo album, Loose Salute. Also worthy of note is "Don't Cry Now," as it is the only track on the album to have never been issued by either the Monkees or Nesmith. Wichita Train Whistle Sings is much more of a timepiece or cultural artifact than an album designed to express artistic achievement or in any way reestablish Nesmith's post-Monkees direction. Fans of his quirky and offbeat sense of humor as well as his delicious melodies will find much to enjoy.

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

Mike Nesmith was doing Monkee business and experimenting with awkward, moody alternative country-rock  even at this early phase of his career - as early as 1968,  while he was still scoring chartbusters with the Monkees. His propensity for experimentation and quirky, innovative arrangements apparently showed very early on: on this, his debut album, he combines "mutant" country themes (we define "mutant Country" as Country & Western  that may have been composed or played by Frank Zappa, Fugs or Tom Waits), psychedelic ornamentation, odd-angled, demanding arrangements, unusual instruments and what not. The album actually sounds like an (un)holy matrimony between Mike Nesmith and Van Dyke Parks.  Nesmith would soon abandon this approach in favor of more hospitable, user-friendly approach, but this, his first album remains in many ways his most enigmatic and original one. Hear why for yourselves.

The PROMOTIONAL, RADIO STATION-, AUDITION OR DEMONSTRATION COPIES AND RELEASES (such as the one we have here) were often distributed among the radio stations before the record was released to the public, sometimes as much as four months ahead. These records are generally considered to be the "first among equals", which is to say the VERY FIRST generation and the VERY FIRST pressings of the particular title; a PROTOTYPE and the earliest known official pressing of the record.

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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 VG++, just a notch below NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(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 has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).

(d)            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!

(e)           PROMO-ONLY mono pressing of this title is much rarer, and by far more  preferable to its stereo counterpart. We think that the mix is more natural, humane, "organic" and that the mixes are somewhat different than on the stereo version. We estimate that stereo copies of this album outnumber mono pressings by a ratio of at least 100:1.

(f)            Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       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 3  (front side) and 4 (back side)

-         Cover shows some light yellowing on both sides, apparently from aging   (nothing significant).  Yellowing is also noted on the INSIDE gatefold

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

-         Cover has a partially split spine (less than 1 inch / 2.5 centimeters); This split seam was delicately taped by the previous owner with a piece of transparent scotch tape

-         Cover has a visible wrinkle (crease) in the cardboard base on the back panel

-         Cover has three corners slightly dinged (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        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 writing

-        No stamps

-        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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POSTAGE & SHIPPING:

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