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         The Abstracts       

     The Abstracts   

 

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The Psychedelic Artwork   

is not for sale!!  Just for fun!!   J   Artist The Abstracts     Album The Abstracts  (cut-out)     Cover Condition VG     Seam Splits 1/2 split on top and some edge wear     Writing No     Discoloration Natural aging     Ring Wear hardly noticeable, cut-out notch on right of cover.     Stickers Price tags, and residue. artwork slight tear on top left.     Vinyl Condition VG+     Scratches No     Groove Wear No     Writing on label No        I always rate my records down one level than I feel they should be, due to opinion differences.  Please note that I can not possibly play test every LP.  If there are any problems, please let me know, as my return policy is fair.  CDs are rated NM if opened but played no more than once.   J     J  

Songs 

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Abstracts, The?– The Abstracts

Label: Pompeii Records – SD 6002 Format: Vinyl, LP, Album
Country: US Released: 1968 Genre: Rock Style: Psychedelic Rock

Tracklist?

A1 To Say The Least 2:52 A2 Results Of Love 2:52 A3 The Rich Young Heir 2:57 A4 O.D.D. Clown 1:55 A5 Smell Of Incense 2:35 A6 Summertime 2:48 B1 See The Birdies 2:43 B2 Any Old Time 3:02 B3 Dreaming Of Blue 3:14 B4 A Matter Of Life And Death 2:45 B5 My Mind Ain´t Peculiar 2:26 B6 Time To Understand 2:33

Barcode and Other Identifiers?

• Matrix / Runout: ST-P-681393-A; ST-P-681394-A

   

Billboard Albums

Year Album Chart Peak did not chart

Billboard Singles

Year Single Chart Peak did not chart Review

      What little we know about this quartet comes off of the liner notes on their first (and only) album ... 

Keyboardist Henri Dondini, guitarist Tony (Antonio) Peluso and bassist Pierre Vigeant formed The Abstracts while attending high school in Los Angeles. Playing school dances, they added drummer Michael Thatcher to the lineup after seeing him win an L.A. "battle of the drums" contest. As a quartet the band began working clubs throughout Southern California and Texas, eventually attracting the attention of Atlantic Records.  

One of the first (and last) acts signed to Atlantic's short-lived Pompeii subsidiary, the band's self-titled 1970 debut teamed them with producers Darrell Glenn and David Anderson. With Peluso handling lead vocals and writing the majority of the material (he was credited with 8 of 12 tracks), "The Abstracts" offered up a weird hybrid sounding like Association-styled MOR crossed with ARS Nova styled Baroque-psych. Yeah, we know it sounds odd. Exemplified by Peluso-penned material such as "Rich Young Heir", "O.D.D. Clown" and "Matter of Life and Death", the deep, thoughtful (aka pompous) lyrics were certain to have appealed to closet intellectuals. The album was also notable for including the year's oddest Gershwin cover ("Summertime"). In spite of those comments, the set wasn't a complete waste. Peluso tended to over sing, but he had a decent voice and on songs with strong melodies, notably "See the Birds" and "Smell of Incense" the band proved quite listenable. Unfortunately, nobody was listening; the album quickly vanishing into oblivion, followed in quick order by the band.      Artist Credit Abstracts Primary Artist Dirk Acree Composer Dave Anderson Producer Lolly Begas Composer T-Bone Burnett Engineer Henri Mario Dondini Organ George Gershwin Composer Ira Gershwin Composer Darrell Glenn Producer DuBose Heyward Composer Tony Peluso Composer, Guitar Michael Thatcher Drums Pat Vegas Composer Pierre Armand Vigeant Bass, Composer      

WIKIPEDIA

Tony Peluso

From Wikipedia, the free encyclopedia Tony Peluso Born March 28, 1950 Died June 5, 2010 (aged 60)
Los Angeles, California, United States Occupations Guitarist, record producer,vocalist Associated acts Carpenters, The Abstracts

Tony Peluso (March 28, 1950 – June 5, 2010) was an American guitarist and record producer. He was lead guitarist for pop duo Carpenters from 1972 to 1983.

Peluso is probably best known for his fuzz guitar solo on the Carpenters' song "Goodbye to Love," and his disc jockey impersonation that opens their "Calling Occupants of Interplanetary Craft" and also links the medley of oldies tracks on Side 2 of the Carpenters album Now & Then.

Contents

  [hide] 

• 1 Career
  • 1.1 The Carpenters
  • 1.2 Later career
• 2 References

[edit]Career

Peluso came from a musical family, his mother being a successful opera singer and his father being the conductor for NBC radio on the west coast.

He began his own musical career in 1968, when he formed a band called The Abstracts with three college friends. The band recorded one album for the small Pompeii label, on which he sang, played guitar and wrote most of the songs. However, the album was not a commercial success, mainly due to poor distribution, and the group disbanded shortly after its release

Peluso later played alongside Bobby Sherman and Paul Revere & the Raiders[1] as well as leading the backing band Instant Joy for Mark Lindsay when Lindsay took a break from Paul Revere & the Raiders.[2]

[edit]The Carpenters

In 1972, Richard Carpenter and John Bettis had written a new song, "Goodbye to Love," for the Carpenters. While the Carpenters were working on the song, Richard decided that there should be a fuzz guitar solo on it. He recalled Tony Peluso from a time when Mark Lindsay and Instant Joy opened for the Carpenters.[2] Karen Carpenter called Tony Peluso and asked him to play a guitar solo. In the DVD Close to You: Remembering The Carpenters Peluso recalled: "At first I didn't believe that it was actually Karen Carpenter on the phone but she repeated her name again. ...It was at this point that I realized it was really her and that I was speaking to one of my idols." She told him that she and Richard were working on a song called Goodbye to Love and they were both familiar with his work with another band, and that he'd be perfect for the sound they were looking for. In the studio, Peluso first played something soft and sweet, but then Richard said "No, no, no! Play the melody for five bars and then burn it up! Soar off into the stratosphere! Go ahead! It'll be great!"[3]

Peluso subsequently joined the Carpenters recording and touring band as lead guitarist.[2]

[edit]Later career

Following the death of Karen Carpenter on February 4, 1983, Peluso moved on to record producing. He worked for the next decade at Motown Records where he recorded artists such as Smokey Robinson, The Temptations, the Four Tops and Michael Jackson.[4]

Peluso went on to produce and/or engineer for artists such as Kenny Loggins, Seals and Crofts, Apollonia Kotero, Player, Animotion, Stephanie Mills, The Triplets, Bloc, The Fixx, Dave Koz and Boyz II Men.[4]

In 1992, Peluso began working with Gustavo Santaolalla. They pioneered the Rock en Español genre. Peluso worked with Latin pop musicians such as Ricky Martin, and Mexican rock bands such as Molotov and Cafe Tacuba. In 2005, Santaolalla and Peluso produced the soundtrack to the motion picture Brokeback Mountain.[5]

Peluso won four Grammy Awards during his career, and was awarded numerous gold and platinum records representing sales in excess of 150 million units during his diverse music career.

He died at age 60 in Los Angeles on June 5, 2010, from heart disease. He is survived by two sons.

   
   

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Abstracts, The - The Abstracts

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LP New: Unopened and Mint   (10 on a scale of 1 to 10)
M: Mint   (9 on a scale of 1 to 10)
NM: Near Mint   (8 on a scale of 1 to 10)
• VINYL: Record appears virtually flawless
• A very minor scuff and very little else can appear on the vinyl.
• It should play without any noise over the flaw. The flaw is very hard to see.
• The cover looks as close to perfect with only minor signs of wear and or age.
• Minor impressions to the cover (due to the outer edge of the vinyl resting inside) may be acceptable; however the artwork is as close to perfect as can be.
• No cut-out holes.
• Looks brand new just shrink wrap removed.  VG++: Very Good Plus Plus   (7 on a scale of 1 to 10)
• VINYL: Minor scuffs which are only slightly visible.
• There may be more than a few scuffs and NO Scratches
• COVER: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear!
• Some slight creases to the corners, but not wrinkled and obtrusive to the eye.
• The corners can show white (where the artwork pasted slick was) meaning, slight wear.
• No seam splits or writing on the cover or taped repairs can make this grade.  VG+:   Very Good Plus   (6 on a scale of 1 to 10)
• VINYL: Record shows wear, surface scuffs, or very light scratches that don't affect one's listening experiences.
• Flaws will be noticeable to the naked eye. If the flaws don't cause any surface noise, the vinyl can still make the VG+ grade.
• Slight warps that do not affect the sound are "OK". 
• COVERS: A virtually clean cover, but may have small writing on it. 
• The artwork looks clean with slightly more aging. The back of the cover usually gives away the age of the cover. Flat white paper will be somewhat yellow yet no stains or mildew from water damage.
• Some minor wear to the seams or spine, but no tears or holes popping through.
• The corners will be slightly dog eared yet no crackly bends, defacing the artwork.
• May be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount.
• A VG+ cover should have no more than 3 flaws mentioned. VG:  Very Good    (5 on a scale of 1 to 10)
• VINYL may not look very good, but it will STILL play very good.
• Almost always some surface noise when played.  Dynamics should still be excellent, overpowering the surface noise.
• Covers will look worn, used.  Some seam splitting.
• Some ring wear, where the ink has begun to wear off.
• May be some writing on the cover but no large letters in magic marker
• Labels, picture sleeves and/or covers may have tape or stickers (or their residue) attached
• Can look aged and yellowish due to contaminations in the air (sometimes looking like cigarette smoke). Still it should be decent.
• Groove wear and light scratches can affect the sound (deep enough to feel with a fingernail)
• Only 2 to 3 of these problems at the same time.
G+: Good Plus    (4 on a scale of 1 to 10)
G: Good    (3 on a scale of 1 to 10)
• Good does not mean Bad!
• VINYL record will look worn, dull, grayish, abused, but will play through without skipping.
• Will have significant distracting surface noise, and scratches and groove wear  are visible.
• COVER/SLEEVE will have seam splits, especially at the bottom or on the spine.  May be scotch tape repaired, no duct tape or masking tape.
• Tape, writing, ring wear or other defects will start to overwhelm the object.
• May have large magic marker writing on the cover F: Fair     (2 on a scale of 1 to 10)
• Cover will looked virtually trashed, but some artwork will still be noticed. If the artwork is worn, it is POOR and the cover is worthless.
P: Poor     (1 on a scale of 1 to 10)
• VINYL record is cracked, badly warped, and won't play through without skipping or repeating.
• COVER/SLEEVE is water damaged, split on all three seams and heavily marred by wear and writing.
• The LP cover barely keeps the LP inside it.  My YouTube Feature - Kevin's Live Music Video Vault http://www.youtube.com/playlist?list=PL9CE07D64936CE306 My kids newspaper project on Facebook http://www.facebook.com/pages/The-Wiki-Weekly/266866373375558?ref=hl My ebay items for sale http://www.ebay.com/sch/m.html?_sop=1&_from=&_nkw=&_dmd=2&_armrs=1&_ssn=psychedelic-kevin&_ipg=96&rt=nc