VAN DYKE PARKS SONG CYCLE RARE ORIG '67 WARNER GOLD LABEL STEREO LP BEAUTIFUL

$

78

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WE CURRENTLY HAVE  MORE  THAN 500 LISTED ITEMS

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·       VAN DYKE PARKS  with RANDY NEWMAN, HAL BLAINE, EARL PALMER, DENNIS BUDIMIR AND JUST ABOUT THE ENTIRE PHIL SPECTOR'S 'WRECKING CREW' ORCHESTRA - SONG CYCLE - ORIGINAL 1967 WARNER BROTHERS STEREO LP WS-1727

·       ORIGINAL U.S. PRESSING

·       ORIGINAL GOLD  WARNER BROTHERS LABEL WITH RED AND BLACK PRINT

·       RECORDED AND ENGINEERED BY BRUCE BOTNICK, THE ORIGINAL DOORS RECORDING ENGINEER (CHECK 1OUT BELOW SOME OF HIS REMINISCENCES ABOUT RECORDING SESSIONS FOR THIS ALBUM)

·       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)

·       "VERSION 1" OF THE COVER, WITH EXTENSIVE (FUNNY) LINER NOTES BY (UNCREDITED)►STAN CORNYN,  NOT "VERSION 2" WHERE  EACH SONG HAS A SEPARATE REVIEW)

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1A'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL 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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Van Dyke Parks moved on from the Beach Boys' abortive SMILE sessions to record his own solo debut, Song Cycle, an audacious and occasionally brilliant attempt to mount a fully orchestrated, classically minded work within the context of contemporary pop. As indicated by its title, Song Cycle is a thematically coherent work, one which attempts to embrace the breadth of American popular music; bluegrass, ragtime, show tunes -- nothing escapes Parks' radar, and the sheer eclecticism and individualism of his work is remarkable. Opening with "Vine Street," authored by Randy Newman (another pop composer with serious classical aspirations), the album is both forward-thinking and backward-minded, a collision of bygone musical styles with the progressive sensibilities of the late '60s; while occasionally overambitious and at times insufferably coy, it's nevertheless a one-of-a-kind record, the product of true inspiration.

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

THE FOLLOWING IS AN EXCERPT FROM THE MATTHEW GREENWALD'S INTERVIEW WITH BRUCE BOTNICK, LEGENDARY ENGINEER OF ALL SIX DOORS STUDIO ALBUMS (AND THE CO-PRODUCER OF L.A. WOMAN)

MG: Let's talk about Van Dyke Parks' Song Cycle a little bit.

BB: One of my favorites.

MG: What do you recall about the evolution of recording that album?

BB: Van Dyke Parks recorded all around town; he did a lot of stuff that was on four-track that later got bounced to eight-track. On some of the cuts the strings were done at Western Recorders Studio 2. Van did a lot of it at United Western. I didn't do a lot of the recording; Lee Hershberg did the majority of it. The man should be canonized. Anyway, I did a couple of tracks at Sunset Sound, and some of the vocals, but I did all of the mixing, and this is where it all sort of came together. We did a lot of experimenting; I came up with something called a "Farkle" (laughter). In those days we didn't have a lot of tools to modify electronic sound. We didn't have phasers, we didn't have flangers, we didn't have anything like that. They didn't exist, so you kind of had to make things happen [by using your imagination.]

The "Farkle" was sort of like that. It was basically where I could take the return of the echo chamber and bring it back into a quarter-inch mono tape machine, and on the capstan I had hand-folded masking tape into eighth-inch pieces, so it was like a fan, and then taped it around the capstan. When the tape would go through, it would make this fluttering sound, and the tape would bounce over the heads. If you listen to that album, you'll hear a lot of that. So, that was one of the things that I came up with because we didn't have those kinds of tools. Basically it was a lot of experimentation, different reverb types, using the combination of the acoustical chamber and an EMT (plate reverb) simultaneously, playing stuff out into the studio and bringing it back on crystal microphones just to get weird pick-ups.

But also beyond the incredible creativity of Van Dyke and his mind, the one person who really understood how to pull it together was Lenny Waronker. I'll never forget when we were mixing it down at Sunset Sound. Joe Smith was there, Mo Ostin was there, Lenny was there, and Jac Holzman was hanging out. Jac started bidding for the album with Mo, "Let me put this album out on Elektra, I know just what to do with it; I must have this album...."

MG: To put it out on Elektra?

BB: Yeah! (laughter) And they're bidding right in front of us, we're watching, heads going back and forth like a tennis match. Van Dyke's credibility shot up a lot because Jac Holzman realized what the album was. He probably knew that the album wasn't going to really sell, but he wanted it because he knew creatively it was going to enhance all the other acts. One of the things about Elektra, and it holds true about Columbia Records, Atlantic Records, in — I don't want to say “the old days" — but in days gone by, was that labels had a sound, they had an identity. And you signed with a label because of the artists who were on it. Everybody didn't do rap, everybody didn't to this or do that. Elektra didn't do jazz. They didn't do any soul music. They did folk, folk-rock, and rock ’n’ roll.

For The Doors to sign to Elektra, they did it for two reasons. Paul Butterfield, and of course Love. If you went to Columbia Records, you were on the label with Bob Dylan and The Byrds. There was a sound, even to the records. You could identify a Columbia record by the tape-delay reverb. You'd hear their pop stuff, like Robert Goulet, and hear (claps hands loudly) “Ba-bam!”...You knew what it was. It was a Columbia record, it had that sound. Elektra Records had a sound, too.

MG: That is so true...any other thoughts on Song Cycle?

BB: Well, still to this day it's one of the highlights of my life. I listen to it and I'm amazed. We did so much with so little.

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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 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!

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

(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 partially split bottom seam (less than 1 inch / 2.5 centimeters)

-        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  (front side) and 4 (back side)

-        Cover has some fraying/wear along the spine

-        Minor shelf wear noted on the bottom seam (nothing significant)

-        Cover has one corner slightly worn / dinged

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

-        Cover has a few tiny wrinkles along the spine  (nothing significant)  (VISIBLE ON BACK SIDE ONLY)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

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FINE (BUT IMPORTANT!) PRINT

(1) The year indicated in the title bar is the year of the original release,  NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, text in red letters). (2) Please do NOT bid based on the title bar, subtitle bar or item specifics box alone; instead, please read the entire description and grading before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to cancel bids in the final 12 hours of the auction; if you need to do so, please contact eBay for help (5) We are unable to provide matrix-, stamper- or other pressing  information in the final 24 hours of the auction. If you require this information, please contact us well before the final day of the auction. (6) Yes, we DO combine shipments. Please click on "Shipping and Payment" tab on top of the auction page for additional details. (7)  All Paypal payments must be made from confirmed Paypal shipping addresses. NO third party shipping addresses will be honored (8) Absolutely NO partial refunds: if you are unhappy with the merchandise you received, please return it for a full refund, postage included (9). Civilized people can disagree without accusing each other of being indecent or dishonest; if you need proof of this seller's personal integrity, please check our eBay feedback, which speaks for itself  (10) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner;  please avoid puerile, offensive, abrasive or menacing language (attempted humor is fine and usually appreciated, although overused-to-death sarcasms can be really, really tedious. (11) This seller will accommodate all reasonable requests and is generally a flexible and agreeable person (12) Our love & appreciation for your trust, loyalty and business, always and forever; Thank You & Good Night!

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