NAT KING COLE NAT KING COLE DELUXE SET RARE SEALED ORIG '68 CAPITOL 3-LP SET

$

26

WE CURRENTLY HAVE  MORE THAN 300  LISTED ITEMS

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·       NAT 'KING' COLE – THE NAT KING COLE DELUXE SET – EXTREMELY RARE  ORIGINAL 1968 CAPITOL RECORDS STEREO 3-LP BOX SET (TRIPLE ALBUM) STCL-2873

·       ORIGINAL U.S. PRESSING

*** STILL SEALED GUARANTEED ORIGINAL FIRST PRESSING (REISSUES DO NOT EXIST) ***

·       GUARANTEED ORIGINAL BLACK CAPITOL LABEL WITH MULTICOLORED SPECTRUM (“RAINBOW) BAND ALONG THE LABEL’S EDGE AND CAPITOL’S LOGO ON TOP (12 O’CLOCK POSITION) OF THE LABEL

·       PLEASE NOTE: THE ALBUM LINER NOTES CLAIM THAT THIS BOX SET CONTAINS FOUR (4) FULL, UNABRIDGED, ORIGINAL NAT KING COLE STUDIO ALBUMS: 'THE TOUCH OF YOUR LIPS' (1961), 'I DON'T WANT TO BE HURT ANYMORE' (1964), 'WELCOME TO THE CLUB' (1959) AND 'THE SWINGING SIDE OF NAT 'KING' COLE' (1962); WHILE THE CLAIM IS TECHNICALLY CORRECT, IT IS ALSO VERY DECEPTIVE AND MISLEADING, BECAUSE THE LATTER TWO ALBUMS ARE, IN FACT, ONE AND THE SAME: 'THE SWINGING SIDE OF NAT 'KING' COLE IS AN TRACK-FOR-TRACK IDENTICAL 1962 REISSUE OF THE 1959 'WELCOME TO THE CLUB' ALBUM, ONLY RETITLED AND GIVEN A NEW COVER AND CATALOG NUMBER; THEREFORE, THE BIDDERS SHOULD KNOW THAT THIS BOX SET CONTAINS THREE (3) NOT FOUR (4) ORIGINAL NAT KING COLE STUDIO ALBUMS; THE ALBUM ALSO CLAIMS THAT THE BOX SET CONTAINS "MORE THAN 30 OF HIS GREATEST HITS" WHICH IS, FRANKLY, NOTHING SHORT OF RIDICULOUS AND BORDERS ON FRAUDULENT ADVERTISING.  WHILE THE BOX SET DOES CONTAIN A GOOD NUMBER OF KING COLE'S GREAT HITS, FAR FROM IT THAT EVERY TRACK ON THIS SET WAS A HIT : THIS IS NOT A "GREATEST HITS" PACKAGE:

·       THE WEIGHT, THE APPEARANCE AND THE CONSTRUCTION OF THE BOX, LABEL’S LOGO AND OTHER PERIPHERAL ELEMENTS OF THE COVER, ARE ALL PERFECTLY CONSISTENT WITH THE ORIGINAL, FIRST PRESSING OF THIS TITLE.

·       TWO “BREATHE” (AIR) HOLES NOTED ON THE SHRINK WRAP

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

·       ORIGINAL, 1/2-INCH THICK CARDBOARD BOX

·       THICK, HEAVY VINYL PRESSING (BASED ON THE WEIGHT)

(►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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THE TOUCH OF YOUR LIPS (1961)

If the front cover of the album, a close-up photograph of a young woman, her eyes closed, her red lips ready for a kiss, her cheek being brushed by a young man (both of them white, incidentally), didn't get the point across, the note on the back cover, beginning, "In the romantic mood of The Very Thought of You and Love Is the Thing...," surely did. Nat King Cole's first LP of 1961, The Touch of Your Lips, was another in a series of ballad collections devoted to the wonders of love. Arranger/conductor Ralph Carmichael supported Cole with a buoyant sea of strings and kept the tempos very slow, the better for the singer's rich tone to convey the bedroom ambience. This was music for the adults of 1961, adults who remembered many of these songs as swing standards of the 1930s and '40s when they were performed by the likes of Ray Noble (the title song and "You're Mine, You!"), Jimmy Dorsey ("I Remember You"), Glenn Miller ("A Nightingale Sang in Berkeley Square"), and Ozzie Nelson ("Lights Out"). Those were all bandleaders, of course, and Cole had little trouble putting his own stamp on songs sung earlier by band singers Al Bowlly, Bob Eberly, and Ray Eberle. But he also borrowed no less than three selections ("Poinciana [Song of the Tree]," "Sunday, Monday, or Always," "Only Forever") from the repertoire of Bing Crosby, and that was more of a challenge, one he did not entirely meet. Still, The Touch of Your Lips succeeded in taking its place alongside Cole's other effective ballad albums.

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

I DON'T WANT TO BE HURT ANYMORE (1964)

This album is extremely underrated. It was the third of Cole's "country-styled" trilogy, and,  in my humble opinion, was far superior to the "Ramblin' Rose" and "Dear Lonely Hearts" albums. Here, Cole drew on standard that had fallen through the cracks and newly composed selections. Of the former, "Your My Everything" and "I'm Alone Because I Love You" are standouts and of the latter, "I Don't Want to See Tomorrow" (a charted single) is the best. The title track, also a single, was mediocre, but the rest of the album stands on its own. Cole saw his "country-styled" trilogy as nothing more than contractual obligation albums, but even in that light, his delivery was impeccable.

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

WELCOME TO THE CLUB / THE SWINGING SIDE OF NAT 'KING' COLE (1959)

As the 1950s came to a close, Nat King Cole (vocals/piano) continued creating stylish renditions of pop and jazz flavored standards. On Welcome to the Club (1959) the artist teams up with Dave Cavanaugh and the Count Basie combo -- minus the maestro himself due to contractual restraints -- for one of Cole's most powerful collections supported by a big band. In fact, it is Cole's unmistakable ultra-cool intonations that flawlessly reign in the fiery -- and at times overbearing -- ensemble arrangements. Right from the start, the vocalist proves that he can swing on the refined and syncopated opening title track "Welcome to the Club." Cole effortlessly bops with a beat so catchy that toe-tappin' and finger-snappin' feel practically obligatory. The bluesy "Anytime, Anyday, Anywhere" adopts a slightly melancholy torch feel that Cole ably milks with his unblemished and supple delivery. The same holds true for the definitive take of Duke Ellington's "Mood Indigo." The number is swaddled with a suitably subdued score that Cole dutifully conveys to tremendous effect, making it one of the unmitigated zeniths of his association with Cavanaugh. While on the subject, "Wee Baby Blues" follows a bit later revealing another spot-on example of his expressive technique. The tempo picks back up on the rousing, well-heeled "Late, Late Show" that again re-establishes Nat King Cole as one of the premiere voices of mid-20th century jazz. His ability to reel off lyrics as if they were conversational is nowhere as evident as it is here. The pace picks up steam with the full-speed-ahead frenzy of "Avalon" and again, Cole exudes nothing but soul throughout this compact, yet unhurried rendition.

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

For additional historical information on this album, including track listing ►CLICK HERE

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TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR 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)          THE ALBUM IS STILL FACTORY SEALED AND IS BELIEVED TO BE PERFECTLY MINT. Please note: sealed items are assumed to be mint and are sold as-is, as we have no way of inspecting them. For our policy on still sealed records ►click here (PLEASE READ BEFORE PLACING A BID).

(b)            The records (based on the weight) are  apparently 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)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER  (1/2" THICK BOX)

COVER IS NEAR MINT, STILL SEALED AND COVERED IN ITS ORIGINAL ►SHRINK WRAP   (A SMALL PIECE OF SHRINK WRAP IS MISSING; THE SHRINK IS A LITTLE LOOSE/TATTERED IN ONE CORNER)

The following flaws or imperfections are noted on the cover:

-        Cover has a small cutout hole in one of the corners

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

-         The cover has a small (3") square-shaped razor-like line (cut) on the front panel, as if someone attempted to cut away the shrink wrap with a razor, but inadvertently left the mark on the cover as well. The paper slick is intact and no part is missing, but the razor line is visible.

-         Cover has a minor wrinkle (crease) in the cardboard base on the back panel (a minor cover construction flaw)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

We offer THREE postage rates for both Domestic and International Mail: Media Mail, Priority Mail and Express Mail for domestic, and First Class, Priority International Mail, and Express International Mail for international orders. INTERNATIONAL CUSTOMERS PLEASE NOTE: WE RECOMMEND that you pay for USPS International Priority Mail OR International Express mail when making a payment in order to obtain tracking information, which is NOT available for First Class International shipments.

INTERNATIONAL POSTAGE rates vary from country to country. For SPECIFIC international and domestic postage rates ►click here. While you can be rest assured that ►our packaging is careful, sturdy and impact-proof, please note that damage, loss or theft in transit is always possible, and in the case of some countries even PROBABLE. To discuss this potential problem and ensure flawless delivery, please contact us thru eBay BEFORE placing a bid.

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OUR REFUND POLICY :

WE OFFER UNCONDITIONAL MONEY-BACK GUARANTEE WITHIN 30 DAYS FROM THE RECEIPT OF THE MERCHANDISE, NO QUESTIONS ASKED; Still sealed items MUST be returned sealed in order to be eligible for a refund Some restrictions apply. Please read our complete refund policy before placing a bid. ►Click here  for the full text of our policy

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