TIM DAWE PENROD VERY RARE ORIG '69 PSYCH LP ON FRANK ZAPPA'S STRAIGHT LABEL MINT

$

229

WE CURRENTLY HAVE  NEARLY 500  LISTED ITEMS

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·       TIM DAWE – PENROD - ORIGINAL 1970 'STRAIGHT' RECORDS LP STS-1058

·       ORIGINAL U.S. PRESSING

·       ORIGINAL RED, PINK, ORANGE AND YELLOW "STRAIGHT" LABEL

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

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

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

(►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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Released in 1969, Tim Dawe's Penrod was one of the few entries on Frank Zappa's ironically monikered Straight Records label -- where it was nestled between Jeff Simmons' Naked Angels original motion picture soundtrack and Tim Buckley's Blue Afternoon, both of which were also issued that year. It has been suggested that Penrod was a pseudonym for the name of the assembled musicians. However, Penrod is in fact the fictional Penrod Schofield, a preteen whose misadventures were anthologized in a collection of humorous drawings by Pulitzer Prize-winning author Booth Tarkington. He is portrayed on the outer LP jacket in two cover illustrations hand-drawn by Gordon Grant. For this recording Dawe (acoustic guitar and vocals) is joined by Arnie Goodman (keyboards), Chris Kebeck (guitar), Claude Mathis (drums), and Don Parrish (bass), and the ten-track project was realized under the supervision of producer and arranger Jerry Yester, who also scored light orchestrations for several of Dawe's originals. The midtempo opener, "Scarlet Woman," builds upon a folk-rock feel punctuated by Goodman's rollicking keys. It also demonstrates Dawe's penchant for reeling off memorable melodies. Somewhat darker is the psychedelic and bluesy "Nite Train Home," with Dawe adopting a huskier tone harking back to Fred Neil's trademark pipes. The discernible vibrato in his voice is complemented by Goodman's shimmering Farfisa. Kebeck gets in on the action, asserting his sneering -- practically punkish -- electric leads. The charming "Nothing at All" recalls the Velvet Underground and Nico's seminal "Femme Fatale," as Yester's lithe strings and woodwinds unite the verse with an effective and timeless pop quality during the middle-eight instrumental section. While on the subject of catchy tunes, the upbeat and playful "Little Boy Blue" bears an unfettered, rural feel. Again, Goodman stands out on the tack piano, giving the number an authentic vintage resonance -- especially against the antiquated synthesizer. Dawe retells the tale of "Junkie John," clocking in at over seven minutes, with a languid methodology. It sonically parallels the jazz-filled and substance-addled demise of Greenwich Village, center of N.Y.C.'s formerly hip bohemian lifestyle. "Sometimes Alone" is one of Penrod's heavier sides, stirred up by Kebeck's electric and slightly acidic fretwork. Comparatively mellower is the narrative of Dawe's "No Exit (Café & Gallery)," as it seamlessly unites an unhurried pastoral melody with his unassuming vocals. The funky and groovy "I'm Comin'" reveals another facet to the artist's interminable talents. Dawe's heartfelt and upbeat ballad "Some Other Time" is swaddled in a crystalline harpsichord that -- much like "Nothing at All" -- takes on the gentle mantle of a crisp, unaffected baroque ballad. "Didn't We Love" brings the platter to a conclusion with a final bout of folk-based psychedelia, perfectly encapsulating the era as well as the all too short-lived output of the Tim Dawe-led band.

 (EXCERPT FROM AN ONLINE REVIEW BY LINDSAY PLANER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

For additional information about Tim Dawe 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 STRONG NEAR MINT. The original luster is very much 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!!!

·       COVER

THE COVER IS NEAR MINT !

The following flaws or imperfections are noted on the cover:

-         Cover shows some light yellowing on both sides, apparently from aging.

-         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 has one corner slightly dinged (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 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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