PLAYS CLEAN LAMINATED/FLAP-BACK SEAMS GRAHAM BOND "CREAM" ENGAGING R&B BEAT

$

150

the GRAHAM BOND ORGANIZATION 

            " the SOUND Of  '65 "

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        UK - (black silver/COLUMBIA - SX 1711   

MONO SONG MIXES!

(((Plays M-))) "rare" British ONLY MID - SIXTIES first LP by the mighty Graham Bond Organization... (to say the least) a formidable crew of talents injected by 2/3 of what would become CREAM .

Both graham bond organization albums luckily to have been released (with this line-up) are well documented essential collectibles delivering rave-up r&b jams with a happening style - highly valued rarities having sold for anywhere between $300 - $600 depending the on the competition among collectors at any given time...

From what we have been (just now) been able to determine, this (minty clean 50 years UK pressing) is the 1967 UK Columbia issue of the 1965 recording of the legendary studio session , values noted above apply since for instance available copies on Discogs at the moment for the same release are running anywhere from $225 (VG+) to $380. (M-) 

Contains the (original) laminated "flap-back" '60s overseas production style of manufacturing which dates this artifact to the '60s...

ALSO comes the original PRINTED inner sleeve ('67 first Pink Floyd "Piper" pictured but not past that date) ...

It’s a matter of record that the British Blues Boom of the sixties was originally created not by former rock’n’roll or "Beat" musicians but principally by ex-jazz players searching for a new “authentic” sound. Its earliest practitioners came to the blues via skiffle. Furthermore, the Blues Boom began not, as popularly thought, with erstwhile jazzman John Mayall’s landmark 1966 album Bluesbreakers with Eric Clapton, but with the formation of Alexis Korner’s influential, ever-mutating Blues Incorporated in 1961. "Bluesbreakers" may be the defining record of the British Blues Boom, the one that induced a whole regiment of Beat guitarists to emulate Muddy, Wolf and BB, but by the time it hit the decks the ground had already been prepared by other former jazzers, notably Korner and his acolyte, the larger-than-life, manic-depressive Hammond organist Graham Bond.

Bond had started out as a bebop alto saxophonist in Charlie Parker vein, but at the turn of the sixties he switched to Hammond organ and, along with other high-profile jazz instrumentalists, began to concentrate on the twelve-bar form. Enlisting fellow Korner alumni Jack Bruce on upright and Fender basses, Ginger Baker on drums and (after rapidly firing early guitarist John McLaughlin) Dick Heckstall-Smith on tenor sax, Bond christened his outfit the Graham Bond ORGANisation, leaving no doubt where the engine room lay. The band immediately became a live tour-de-force on the London club circuit but, as with so many other artists who are ahead of their time, failed to find commercial success in terms of record sales; its albums weren’t even released in North America, where the whole concept of “British Blues” was initially treated as a joke. The ORGANisation lasted for two studio albums before disbanding shortly after Bruce and Baker, finding the bipolar Bond too difficult a taskmaster, departed for new challenges ala CREAM.

Compared with the straight-ahead purist electric blues of Bluesbreakers, the earlier Sound Of 65 shows a band attempting engagingly to pervert the blues in every conceivable direction. It combines the expected traditional blues covers (“Hoochie Coochie Man,” “Got My Mojo Working”) and jamming R’n’B workouts (“Wade In The Water,” “Train Time”), reworked in distinctive, individual fashion, with lyrically naiive but musically adventurous Bond originals which move confidently in the direction of what would later be called “jazz-rock.” 

But dig this - ALL the tracks are carried along by the sheer, rough-edged energy of Bond’s vocals and the irrepressible swing of the band’s ensemble playing, plus a remarkable studio production with plenty of reverb that gives the impression of a live recording. In fact the album was the ORGANisation’s well-honed live set with each number pared down to three minutes or less, the solos from Bond’s growling B-3 and Heckstall-Smith’s squalling tenor short and ferocious rather than extended and building. High spots include the flavoring of “Wade In The Water” with more than a soupçon of Bach’s Toccata, the spoof field holler of “Early In The Morning,” Bruce’s rumbling upright bass figures on “Mojo,” Bond’s and Heckstall-Smith’s wailing snake-charmer licks on “Spanish Blues”, and the eerie “Baby Make Love To Me” which is carried on just harmonized saxes, bass and drums and boasts lead vocal and braggadocio harmonica from Bruce. Only the mandatory Baker drum solo on “Oh Baby” and the maudlin closer “Tammy” (intended as a “commercial” single) conspire to highlight the overall appeal.

Hoochie Coochie

Baby Make Love To Me

Neighbour, Neighbour

Early In The Morning

Spanish Blues

Oh Baby

Little Girl

I Want You

Wade In The Water

Got My Mojo Working

Train Time

Baby Be Good To Me

Half A Man

Tammy

CONDITION: The cover: rated: "EX" (excellent) laminated front cover...50 years before fragile cover has the old style 'flap-back' seams on back. Baack cover near "EX" (excellent)... overall solid collection copy -- There are no delete marks, or other alarming problems of concern  ... VERY collection worthy ...

The vinyl: Rated: clean "EX" (excellent) to M-... plays perfect ...final collection copy ...  UK Columbia =MONO= labels are CLEAN

      A cool addition to anyone's music library!

SEE: SELLERS OTher items for similar cool sounds for "head" people...

EFFICIENT/CAREFUL GRADING

All imperfections are noted both cover & record