NUCLEUS WE'LL TALK ABOUT IT LATER VERTIGO SWIRL UK

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      THIS IS MY AUCTION FOR THE SECOND LP BY IAN CARR'S BAND NUCLEUS RELEASED IN 1970 CLASSIC PSYCH - PROG - JAZZROCK FROM THE UK. ORIGINAL UK EDITION WITH FOLD-OUT SLEEVE ON VERTIGO SWIRL INCL. THE ORIGINAL VERTIGO INNERSLEEVE. REGARDED AS THEIR BEST ALBUM, EVEN REMINDS ME OF CLASSIC MILES DAVIS ALBUMS LIKE BITCHES BREW

CONDITION OF THE RECORD : EXCELLENT, ALMOST NM, PLAYS GREAT, BLACK & WHITE VERTIGO LOGO IN EXCELLENT CONDITION, CAT. NR. 6360027

CONDITION OF THE SLEEVE : VG++, SOME WEAR ON THE EDGES BUT NOTHING SERIOUS, THE SEETHROUGH OPENING IN THE MIDDLE FULLY INTACT, NO TEARS OR WHATSOEVER.

SOME INFO ON THE BAND AND THIS ALBUM :

: Although Nucleus made an acclaimed performance at the
            Newport Jazz Festival in 1970, the U.K. proto-fusionists never
            became particularly popular in the States, with much of their
            recorded output only available as import releases. In fact, in
            certain quarters Nucleus is known primarily as a source of musicians
            who joined the latter-day Soft Machine, itself a group that never
            moved too far beyond cult status. Composer/keyboardist/reedman Karl
            Jenkins, drummer John Marshall, bassist Roy Babbington, and
            guitarist Allan Holdsworth all played with Nucleus at one time or
            another, and all had moved over to the Soft Machine lineup by the
            time the Softs (with Mike Ratledge the only original remaining
            member of the band) issued Bundles in 1975. Nucleus' second album,
            1970's We'll Talk About It Later, might be of particular interest to
            fans of Bundles-era Soft Machine given the presence of "Song for the
            Bearded Lady," a Jenkins composition that later appeared in altered
            form on Bundles as "Hazard Profile," a vehicle for one of
            Holdsworth's most stunningly fleet-fingered solos on record. "Song
            for the Bearded Lady" kicks off We'll Talk About It Later with a
            fanfare and funky unison and counterpoint riffing that segue into a
            spacious groove and Ian Carr trumpet solo echoing the influence of
            electric Miles from the same time period. Chris Spedding was the
            band's guitarist here, and one shouldn't expect Holdsworth-style
            pyrotechnics from him; Spedding was a blues-rocker more than a
            jazzer and generally took a back seat to the soloing skills of Carr,
            Jenkins, and New Zealand saxophonist Brian Smith (whose duet with
            drummer Marshall at the conclusion of "Easter 1916" — inspired by
            the Yeats poem about the Irish nationalist uprising in Dublin —
            approaches the wildness of some of the era's most incendiary free
            jazz).
            The band is at its best when firing on all cylinders (the title
            track, for example), but the album's mood changes are for the most
            part effective; "Lullaby for a Lonely Child" is a lovely down-tempo
            ballad (who would've guessed from that title?) with an understated
            horn/sax line from Carr and Smith and atmospheric bouzouki from
            Spedding imparting a Mediterranean flavor. New millennial listeners
            might wish for a time machine to go back and tell this band to lose
            the occasional vocals, however. The uncredited singing in "Ballad of
            Joe Pimp" might seem laughably polite during the age of gangsta rap;
            this Joe Pimp sounds about as streetwise as Gilbert O'Sullivan of
            "Alone Again (Naturally)" fame. Still, the song seems prescient —
            its tempo and instrumentation are akin to Pink Floyd's "Money,"
            which appeared on the scene several years later. Given Carr's long
            trumpet and flügelhorn lines, Jenkins' probing oboe and funk-filled
            electric keyboards, Spedding's rockish wah-wah guitar, Smith's
            freewheeling sax work, and the powerful rhythmic foundation of
            drummer Marshall and bassist Jeff Clyne, this version of Nucleus
            should appeal to any fan of late-'60s/early-'70s fusion — either the
            Soft Machine-esque Brit variety or the stateside explorations of the
            Miles Davis school. But We'll Talk About It Later shouldn't be
            viewed merely through the prism of other artists; Nucleus was an
            original band that deserves considerably more attention than it got
            for pioneering a form of jazz-rock that has, for the most part, aged
            quite well, and We'll Talk About It Later is a noteworthy release
            from a strong Nucleus incarnation.

             1. Song for the Bearded Lady
             2. Sun Child
             3. Lullaby for a Lonely Child
             4. We'll Talk About It Later
             5. Oasis
             6. Ballad of Joe Pimp
             7. Easter 1916

            Ian Carr - Trumpet, Horn
            Chris Spedding - Guitar
            Jeff Clyne - Bass
            Karl Jenkins - Keyboards, Saxophone
            John Marshall - Drums
            Brian Smith - Wind

             1970LPVertigo6360027

                  Nucleus began its long jazz-rock journey in 1969, when it was
                  originally formed by trumpeter Ian Carr. They attracted a
                  following after a successful performance at the Montreux
                  International Festival in 1970, which led to the critical
                  success of albums Elastic Rock and We'll Talk About It Later.
                  The other members consisted of saxophonist Karl Jenkins,
                  drummer John Marshall, and guitarist Chris Spedding. Spedding
                  split after the first two albums, but the rest of the lineup
                  lasted until 1972, when Jenkins and Marshall both left to join
                  Soft Machine. Belladonna was the first album with only Carr,
                  and although he enlisted the help of guitarist Allan
                  Holdsworth, the band eventually became a solo venture for his
                  music. They finally broke up in the mid-'80s after several
                  Carr-only albums.

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