SIR DOUGLAS QUINTET 1+1+1=4 RARE ORIGINAL '71 PHILIPS LP ORIG GIMMICK COVER MINT

$

50

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·       SIR DOUGLAS QUINTET: 1+1+1=4  - ORIGINAL 1970 PHILIPS RECORDS STEREO LP PHS 600-344

·       ORIGINAL U.S. PRESSING

·       ORIGINAL BLACK PHILIPS LABEL WITH MULTICOLORED LOGO

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

·       UNIQUE "OPEN GATES" ‘GIMMICK’ GATEFOLD LABEL.

·       ORIGINAL GATEFOLD COVER, MADE OF THICK CARDBOARD (AMERICAN STYLE) 

·       ORIGINAL "TEXTURED" (LEATHER-LIKE) COVER.

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

 (►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 Sir Douglas Quintet delivered two excellent records back to back in Mendocino and Together After Five, but success was hard to come by, and it was hard to tell what path was the right one for a band as talented and fuzzily focused as this. Their fourth Mercury/Smash record, 1970's 1+1+1=4 didn't solve that puzzle and by trying to touch on a little of everything, it didn't provide any clear direction for the band to follow, nor did it showcase the band at its best. Even so, the Sir Douglas Quintet on a bad day were better and more interesting than many of their peers, and part of the fascination behind this record is to hear the group -- or, more accurately, its leader Doug Sahm -- try to craft an identity by adhering to the band's signature Tex-Mex while expanding in such disparate directions as pure country and horn-drenched progressive pop/rock. The country comes from sessions Sahm held with legendary producer Jerry Kennedy in Nashville; intended to be released as a solo single under the name Wayne Douglas, Sahm's laid-back Texas attitude never translated to the professional aesthetic of Nashville, and the results -- "Be Real" and "Pretty Flower" -- wind up being a fresh southern breeze on this typically loose-limbed, unfocused, freewheeling record. A large part of the charm of Sahm with the Sir Douglas Quintet is that he was undisciplined; he had no compunction in bringing in what engaged him at a particular time, tying it into his signature blend of rock & roll, R&B, and country. Here, he lays on a little bit too much of a guitar fed through a Leslie rotating speaker, a little bit too much of the punchy, jazzy horn-laced arrangements of such pop progressives as Blood, Sweat & Tears, and he panders a little bit too much to the album-oriented audience. It was all in vain, of course -- no matter what he did, he couldn't erase the nature of his music, he couldn't remove the all-encompassing, all-Texan aesthetic, so it still sounded too idiosyncratic for its own good. That, of course, is what makes the music so rich and fascinating years after the fact, because even if Sahm tried different sounds, it still wound up sounding like him, and that's why it's aged much better than other records from that same year. It's a little too hazy and unfocused to be a true lost classic, but once you're hooked on the Sir Douglas sound, this is absolutely necessary.

 (EXCERPT FROM AN ONLINE REVIEW BY STEPHEN THOMAS ERLEWINE, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

For additional historical information on this album, including track listing ►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)          WE GRADE THE VINYL AS NEAR MINT. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

(b)          The record comes in its original, custom, inner sleeve, which is UNIQUE to this album.

(c)           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!

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

·       COVER (this is the original “gimmick” cover)

THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD+++.

The following flaws or imperfections are noted on the cover:

-         Cover has JUST A HINT of 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 2.

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

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

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        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 wrinkles or creases

-        No writing

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        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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