SOLOMON BURKE I WISH I KNEW RARE ORIG '68 ATLANTIC PROMO STEREO LP BEAUTIFUL

$

22

WE CURRENTLY HAVE  MORE THAN 200  LISTED ITEMS

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·       SOLOMON BURKE – I WISH I KNEW – ORIGINAL 1968 ATLANTIC RECORDS STEREO LP SD-8185

·       ORIGINAL U.S. PRESSING

·       *** PROMOTIONAL COPY; THE RECORD HAS STOCK LABELS; HOWEVER, THE PROMOTIONAL STAMP ON THE LABEL CLEARLY IDENTIFIES THE ITEM AS PROMOTIONAL ***

·       ORIGINAL GREEN AND BLUE ATLANTIC STEREO LABEL (NO OTHER PRESSINGS OR LABELS EXIST)

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

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

(►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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Solomon’s last album for Atlantic Records, released in 1968, may not be as well known as his earlier material, but on its own it’s a superb collection of Southern-styled soul waxings.

Burke’s joyous, thrilling version of “I Wish I Knew” brings together country church grooves with Sweet Inspirations-like backing vocals. Those honey-dipped adlibs throughout are ace, as well… When the Rev speaks, you listen.

Proto-rappin’ on the first verses of Alan Toussaint‘s New-Orleans classic “Get Out of My Life Woman“, Burke and band shift into full funk mode and get down Nawlins-style: huge, fat horns, tinkeling piano, busy drums and an all-out Mardi Gras atmosphere. One HARD socking slice of fingerlickin’ good Southern Soul.

After churning out a rendition of Joe Tex‘ slow burning “Meet Me in Church“, the Rev delves into the popular “By the Time I Get to Phoenix“, giving it a slight jazzy edge. His husky baritone was made for stuff like this, even if the definitive version of this track, naturally, was done by Isaac Hayes a year later.

John Loudermilk‘s achingly beautiful “Then You Can Tell Me Goodbye” (later done by Bettye Swann) is given the Deep Soul treatment, featuring wailing horns, gospelish piano and a gentle but punchy beat.

Burke’s spin on Ray Charles‘ “What’d I Say” is sheer soul power, a party-pumpin’ floorshaker with a few improvised lyrics, and a whole lot of raw ‘n’ dirty brassy licks, while his treatment of the standard “Since I Met You Baby” is more restrained, although it does have some lazy horns and great country-soul guitar pickings. The same pretty much goes for the equally low key “Shame on Me“, with its plodding, mid-tempo beat and vamps of brass. Fingers get back to poppin’ on the hard driving “Save It“, a heavy jam featuring Solomon at his most nitty-gritty, just blasting out a mammoth vocal. The Rev closes his final Atlantic album with the beautiful country-esque “Why Why Why“, putting in one more of his inimitable spoken interludes.

A wonderful record, essential for Soul buffs.

 (EXCERPT FROM AN ANONYMOUS ONLINE REVIEW)

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The PROMOTIONAL, RADIO STATION-, AUDITION OR DEMONSTRATION COPIES AND RELEASES (such as the one we have here) were often distributed among the radio stations before the record was released to the public, sometimes as much as four months ahead. These records are generally considered to be the "first among equals", which is to say the VERY FIRST generation and the VERY FIRST pressings of the particular title; a PROTOTYPE and the earliest known official pressing of the record.

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·                               CONDITION:

·                               THE 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 EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The record comes in the original stock inner sleeve.

(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!!!

·                               THE COVER

THE COVER IS NICE --- ABOUT VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-        Cover has a sticker residue (partially peeled remnants of the price sticker or promo sticker; the buyer can probably remove these small, still affixed bits and pieces of the sticker with a minor effort)

-         The cover has a few tiny scratch marks on the front side   (nothing significant)

-        Cover has some light 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 3

-        Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record),  probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearance to a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.

-         Cover shows some light yellowing on back side, apparently from aging.

-        Cover has a few tiny wrinkles along the seams  (nothing significant)

-        Cover has some fraying/wear along the upper seam

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

-        Bacl cover has tiny, spot-like peel-off marks, most likely from the exposure to the humidity  (less than ¼ square inch in size, total)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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