RICHARD BRAUTIGAN - Listening To Richard Brautigan THE BEATLES Apple Zapple
$
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Description
*** I pay top dollar for quality record collections. If you're looking to sell please send me a message (click on "Contact Seller", found at the top of this page where it says "Seller Information")***
Vinyl: VG Play Tested, Sounds Very Good! The first four poems on side 1 have a feelable mark on them that causes a soft tick sound on the first 3 poems and the first 2 minutes and 30 seconds of the 4th poem. The rest of the record is in VG+ condition. Harvest Labels are Clean and Bright. This is the Original 1970 Harvest 1ST Pressing! ST-424. Brautigan's One and Only Record is a Treasure Trove of this Iconic San Francisco Poet's best Narrative Poems! Includes poems from Trout Fishing In America, A Confederate General from Big Sur, , Revenge of The Lawn and Others! Attention Beatles' Completists: Super Rare and highly sought after LP! An infamous one-that-got-away from The Beatles' Apple Records whom ALMOST released the record on their Zapple subsidiary.
See Review Below!
In the Dead Wax: Side 1: ST-1- 424-F-3 1 and the * glyph ((Pressed at Capitol's Los Angeles, CA Pressing Plant))
Side 2: ST-2-424-F-3 1 and the * glyph ((Pressed at Capitol's Los Angeles, CA Pressing Plant))
Cover: VG (see photos) Produced by Miles Associates and Richard Brautigan. Barry Miles was an associate of The Beatles, a friend of Paul McCartney's (he wrote Paul's authorized Biography "Many Years From Now") and was defacto manager of The Beatles' Zapple Records in 1969 when Brautigan's album was recorded and was slated to be released by Zapple. When Allen Klein (inelegantly) started limiting the adventurous nature of Apple/Zapple's A&R, the Beatles lost the opportunity to release Brautigan's record, an opportunity that Capitol's Harvest subsidiary capitalized on. Interestingly, the woman on the cover is Valerie Estes, who happened to be Richard Brautigan's girlfriend...well, at the time, she was also having an affair with Barry Miles! Ooh-lal-la!!Front and back of cover artwork and text are rich, clear and bright, with some shelf wear and some staining on the bottom of the cover. The front cover has a tiny tear on the front, where the opening of the cover is. Also has Pete's phone number written lightly in pencil on the bottom of the cover on the right side. Brautigan would be pleased!!! :) Seams, corners and spine are solid and clean, with some wear. No splits. Spine print is clear.
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Goldmine Standards. I play grade every record that I sell on eBay as I have found you can't rate a record accurately by just visually inspecting it. I wipe the dust off of every cover with clean, unscented baby wipes. I professionally clean the vinyl. (I also operate a Vinyl Record Cleaning business for your dusty/dirty records--if interested, send me a message).
All records are packaged securely with the vinyl sandwiched between two cardboard stiffeners and shipped in a custom cardboard record mailer box. I get compliments on my packaging.
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Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?
First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl. Why experience the worse elements of both formats? These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared. They are nearly always compressed with murky transients and a general lifelessness in the overall sound. There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.
First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider. Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive. Inner details are clearer.
On first and early pressings, the music tends to sound more ‘alive’ and vibrant. The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.AllMusic Review by Lindsay Planer [-]
Author, humorist and recording artist, Richard Brautigan's long-player, Listening to Richard Brautigan (1970), provides insight into his everyday life, world and written works. The San Francisco-based poet had already established himself as a hip, underground Bay Area fixture -- even occasionally supporting burgeoning rockers Mad River, turning up on their Paradise Bar & Grill (1969) album reciting "Love's Not the Way to Treat a Friend." He'd also gained notoriety from his most renown prose and much of this disc is devoted to excerpts from Trout Fishing in America ("The Hunchback Trout"), A Confederate General From Big Sur ("The Rivets of Ecclesiastes"), In Watermelon Sugar ("The Watermelon Sun"), Revenge of the Lawn ("Revenge of the Lawn") that includes "Short Stories About California" with "A Short Story About Contemporary Life in California," "The Memory of a Girl," "The View From the Dog Tower" and "Pale Marble Movie" all taken from that collection. Similarly, The Pill Versus the Springhill Mine Disaster is the source for "Boo, Forever," "The Pill Versus the Springhill Mine Disaster" -- gathering "All Watched Over by Machines of Loving Grace," "December 30," "A Boat," "Haiku Ambulance," "Death Is a Beautiful Car Parked Only," "Karma Repair Kit: Items 1-4," "Crab Cigar," "Widow's Lament," "The Pumpkin Tide," "Man," "Adrenalin Mother," "San Francisco," "1942," "At the California Institute of Technology," "Xerox Candy Bar," and "Alas, Measured Perfectly" -- as well as "The Telephone Door That Leads Eventually to Some Love Poems" sporting: "The Shenevertakesherwatchoff Poem," "The Double-Bed Dream Gallows," "November 3," "Flowers for Those You Love," "I Lie Here in a Strange Girl's Apartment," "The Pill Versus the Springhill Mine Disaster," "Lovers," "Gee, You're So Beautiful That It's Starting to Rain," "I Cannot Answer You Tonight in Small Portions," "The Way She Looks at It," "A Good-Talking Candle" and "I Live in the Twentieth Century." Interspersed throughout are fly-on-the-wall sonic vérité excursions such as "The Telephone Door to Richard Brautigan," self-explanatory "Here Are the Sounds of My Life in San Francisco," "Here Are Some More Sounds of My Life" and the aforementioned "The Telephone Door That Leads Eventually to Some Love Poems" as it also contains dialogue about Brautigan's manipulation of the telephone -- or is it vice versa -- before commencing with pieces from The Pill Versus the Springhill Mine Disaster anthology. Arguably the most interesting concept from the listener's point-of-reference is "Love Poem" -- a single-sentence composition as interpreted by Brautigan himself in addition to Bob Prescott, Valerie Estes, Michael McClure, Margot Patterson Doss, Bruce Conner, Michaela Blake-Grand, Donald M. Allen/David Schaff, Ianthe Brautigan, Imogen Cunningham, Herb Caen, Betty Kirkendall, Peter Berg, legendary DJ Alan Stone -- who reads his live on-the-air via KSAN-FM, Antonio, Donald M. Allen, Cynthia Harwood, and Price Dunn.
Here's a link that'll give you more info than you'll ever want about the record! www.brautigan.net/recordings.html
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