Offered for sale is an original U.S. pressing of the live album L’ange Gabriel by Genesis, pressed on clear/yellow vinyl.
Note: This LP was issued on at least eight different colors of vinyl; this one is mostly yellow with clear vinyl at the edges. The green vinyl pressing seems to be the most common version; this variation is not listed at Discogs.
About this copy: This copy of L’Ange Gabriel is a 1978 U.S. pressing on the Smilin’ Ears label, though the labels say “Morocco.”
The cover is M-. The cover has “7705” as the catalog number; the labels say “S-E 1000.” All copies are like this.
The clear and yellow vinyl disc is M- on aide one and VG++ on side two. There’s a small scratch at the very end of side two that does not affect play. Aside from that scratch, there are no other marks on the vinyl or the labels. The album has probably only been played once or twice.
A nice copy of a scarce Genesis LP.
Background: Released in 1978 on the U.S.-based Smilin’ Ears label, L’Ange Gabriel contains a portion of a concert that was recorded on April 21, 1974 at the University Sports Centre in Montreal, Canada.
Sourced from an FM broadcast, this mono recording contains five tracks:
Dancing With the Moonlit Knight
The Cinema Show
I Know What I Like
Firth of Fifth
The Musical Box
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Offered for sale is still sealed limited edition U.S. picture disc pressing of Whipped Cream & Other Delights by Herb Alpert’s Tijuana Brass, including the mini-poster of the cover.
About this copy: This copy of Whipped Cream & Other Delights is a 2008 picture disc edition on the Shout Factory label. The album was originally released in 1965 by A&M Records.
As the album is still sealed, the record is presumably new and unplayed.
The wrap is fully intact except for a 2″ (5 cm) split at the mouth of the cover. We’ve secured this with tape to prevent further tearing.
A beautiful copy of a rare picture disc, as the pressing was quite limited. Great album, too!
Background: Fifty years later, few remember the extent to which Herb Alpert and his Tijuana Brass dominated pop music in the U.S. in the early 1960s. Several of their albums topped the charts, and many of them had high chart rankings simultaneously.
The Latin-flavored brass instrumental pop appealed to both teenagers and adults, and Alpert, who largely recorded alone with the help of the Wrecking Crew, had to actually create a Tijuana Brass band to fulfill performance commitments.
Whipped Cream & Other Delights is often dismissed today as a common album that seems to be ubiquitous in thrift stores, but that’s because the album, which spent nearly two months at #1 on the Billboard charts, was enormously popular in its day, selling some 6 million copies. Those sales weren’t a fluke; it’s a great record as well as a particularly well-recorded album.
Two of the tracks were used on the television program The Dating Game during the 1960s and 1970s – “Lollipops and Roses” and “Whipped Cream.”
The cover of Whipped Cream & Other Delights might be one of the best-known covers in pop history, featuring model Dolores Erickson covered in shaving cream. Numerous covers that spoof this one have also been released over the years, and a few years ago, Whipped Cream & Other Delights was even issued briefly as a picture disc.
Whipped Cream & Other Delights was so popular that it never went out of print, and remained available on vinyl until A&M quit pressing records.
While the record sold in the millions and remains popular to this day, the original pressings in mono are quite scarce. The album was released in April, 1965 in both stereo and mono but A&M quit pressing mono LPs in early 1968. All copies issued since then have been in stereo only, making the mono pressing of this LP, with its unique mix, a relative rarity.
Building upon South of the Border’s (1964) Top Ten success, Herb Alpert dismissed the contingency of Los Angeles-based studio instrumental all-stars, which he had christened the Tijuana Brass. Because there was enough demand for live dates, just like a musical Gepetto, Alpert formed a real Tijuana Brass. The bandleader/trumpeter was joined by Tonni Kalash (trumpet), Robert Edmondson (trombone), Pat Senatore (bass), John Pisano (guitars), Lou Pagani (piano), and Nick Ceroli (drums). Ostensibly, the personnel wasn’t a primary consideration as Alpert and company had already begun making serious inroads on the pop music scene. Not bad, considering the market was being heavily infiltrated, if not practically dominated by the British Invasion. With Whipped Cream & Other Delights (1965), they would take that momentum to new heights — including three Grammy Awards alone for the update of the Bobby Scott and Ric Marlow-penned theme to Shelagh Delaney’s play of the same name, “A Taste of Honey.”
You can hear “Whipped Cream” here:
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Offered for sale is a still sealed U.S. stereo pressing of The Supremes Sing Holland-Dozier-Holland by the Supremes.
This is the original 1966 issue and not the early 1980s reissue.
About this copy: The copy offered for sale is a 1966 U.S. stereo pressing on the Motown label.
As the album is still sealed, the record is presumably new and unplayed.
The shrink wrap is fully intact except for the lower right hand corner, which has been cut. An original price tag is attached to the shrink wrap.
A very nice example of a classic Supremes LP.
Background: The Supremes ran off an impressive string of hits and albums in the mid-1960s, and The Supremes Sing Holland-Dozier-Holland (issued as The Supremes Sing Motown outside the U.S.) is one of their best efforts. The album features two songs that reached #1 on the Billboard charts: “You Keep Me Hanging On” and “Love is Here and Now You’re Gone.” In addition, the album included cover versions of songs that Motown’s songwriting team of Lamont Dozier and Eddie and Brian Holland wrote for other Motown artists.
The mono copies of this album were only in print for about a year and a half, and are much harder to find than their stereo counterparts. In addition, the mono versions of the songs are going to have different mixes than the more common stereo versions.
The Supremes Sing Holland-Dozier-Holland reached #6 on the album charts, and includes the following tracks:
Side One
“You Keep Me Hangin’ On”
“You’re Gone, But Always in My Heart”
“Love Is Here and Now You’re Gone”
“Mother You, Smother You”
“I Guess I’ll Always Love You”
“I’ll Turn to Stone”
Side Two
“It’s the Same Old Song”
“Going Down for the Third Time”
“Love is in Our Hearts”
“Remove This Doubt”
“There’s No Stopping Us Now”
“(Love Is Like a) Heat Wave”
Anchored by two of their most popular recordings, “You Keep Me Hanging On,” and “Love Is Here and Now You’re Gone,” this LP features Holland, Dozier & Holland (HDH) compositions and productions, and it ranks among their best. … Two Four Tops’ remakes, ‘I’ll Turn to Stone,” and “The Same Old Song,” are just as groovy as the originals. … The prolific writers did an excellent job on their namesake LP, which turned out to be the last of the great Supremes albums.
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Offered for sale is a copy of the UK 12″ EP Four Tracks From Steely Dan by Steely Dan.
This 1977 UK four-track 12″ EP includes both sides of their first single – “Dallas” and “Sail the Waterway.” (both are in mono)
About this copy: This copy of Four Tracks From Steely Dan is a 1977 UK pressing on the ABC label.
The cover is VG+ with light general wear. The disc is M- with a couple of very faint sleeve scuffs. Clean disc!
A nice copy of a scarce Steely Dan EP.
Background: Released in the UK in 1977, Four Tracks From Steely Dan contains four songs:
Do It Again
Dallas (mono)
Haitian Divorce
Sail the Waterway (mono)
“Dallas” and “Sail the Waterway” were the A and B sides of the band’s first single. The single did not chart and it was not included on the band’s first studio LP>
The two songs were only released in mono and are difficult to find on 12″ vinyl. Aside from this EP, the only other place to find those songs on 12″ vinyl is a very rare Japanese compilation LP.
Offered for sale is a copy of the U.S. live album To Know Him Is To Love Him by Elvis Presley.
While some copies were issued on either blue/black marbled vinyl or multicolored vinyl, this copy is black vinyl.
About this copy: This copy of To Know Him Is To Love Him is an original 1978 U.S. pressing on the Black Belt Records label.
The cover is VG+ with slight edge and corner wear and a bend in the lower right hand corner.
The cover has a blurb that says, “Special limited edition pressed on blue-black vinyl,” but all covers had this blurb, including the copies on black vinyl.
The disc is M- with a couple of faint scuffs from being removed from the paper sleeve. The record has clearly only been played a couple of times.
A nice copy of a rare Elvis LP.
Background: Released in 1978, To Know Him Is To Love Him was one of many unauthorized albums to hit store shelves within a short time following the 1977 death of Elvis Presley.
This LP apparently contains live material from a variety of shows that were recorded between 1970 and 1976.
Tracks are:
Trouble
Raised On Rock
Steamroller Blues
Sweet Inspirations
Help Me Make It Thru The Night
More / Suspicious Minds
Please Release Me
I, John
Folsom Prison Blues / I Walk The Line
Until It’s Time For You To Go
Fever
I’m Leavin’
Memphis Tennessee Pt 1 And Pt 2
Elvis Introduces Bobby Darin
Can’t Help Falling In Love / Closing
You can read more about To Know Him Is To Love Him here (new window.)
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Offered for sale is an original U.S. green label stereo pressing of Fontessa by the Modern Jazz Quartet.
About this copy: This copy of Fontessa is a 1958 U.S. stereo pressing on the green Atlantic label. While the album was released in mono in 1956, the stereo version was released in 1958.
The laminated cover is VG+ with slight wear on the back cover. The number “40” has been written in the upper right hand corner of the back cover in pencil.
Like all Atlantic stereo LPs of this time, the cover is a mono cover that has the words “STEREO DISC” embossed on the front cover.
The disc is VG+ with a couple of sleeve scuffs and one or two light hairlines. It’s a fairly clean disc that has been well cared for.
A nice copy of a terrific (and very well-recorded) MJQ LP.
Background: Released in 1956, Fontessa was the sixth album by the Modern Jazz Quartet and their first album for Atlantic.
This LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis’ “Versailles” and an 11-minute “Fontessa” show the seriousness of the group (and the influence of Western classical music), other pieces (such as “Bluesology,” “Woody ‘N You” and a pair of ballads) look toward the group’s roots in bop and permit the band to swing hard.
Offered for sale is an original U.S. pressing of Fresh Cream, the debut LP by Cream.
About this copy: This copy of Fresh Cream is a 1967 U.S. pressing on the purple and brown Atco label.
The cover is VG+, with slight edge and corner wear.
The disc is VG++ with a couple of light scuffs. It’s a clean disc that has had little play. The disc was pressed at Columbia Records’ Terre Haute, Indiana pressing plant.
A nice copy of a classic LP.
Background: Cream is highly and rightly regarded as rock’s first supergroup, combining Eric Clapton of the Yardbirds with Ginger Baker and Jack Bruce from Graham Bond’s band. While the band only released four albums before breaking up, they’re regarded as one of the most influential bands in rock history.
Fresh Cream, their 1966 debut, included the tracks “I Feel Free,” “Toad,” and “I’m So Glad.” The album was originally released in both stereo and mono, and later pressings replaced “I Feel Free” with “Spoonful.”
Offered for sale is an original U.S. stereo pressing of The Modern Jazz Quartet Plays One Never Knows by the Modern Jazz Quartet.
This LP is also known as No Sun in Venice.
About this copy: This copy of The Modern Jazz Quartet Plays One Never Knows is a 1968 U.S. stereo pressing on the green Atlantic label.
The laminated cover is M- with a tiny corner dent. This is a mono cover with “STEREO DISC” stamped on the front.
The green label stereo disc is VG+ on side one with a couple of sleeve scuffs and a couple of hairlines through the final track. Side two is VG++ and close to M- with a couple of faint sleeve scuffs. It’s a clean disc that plays well.
A nice copy of a pretty good MJQ album that’s hard to find as a first pressing, especially in stereo.
Background: Released in 1957, The Modern Jazz Quartet Plays One Never Knows was the ninth album by the Modern Jazz Quartet.
This recording has six John Lewis compositions that were used in the French film No Sun in Venice. The music is quite complex and disciplined, making this set of lesser interest to fans who prefer to hear Milt Jackson playing bebop-oriented blues. However the versatile group was perfect for this type of music and these thought-provoking performances reward repeated listenings.
While the speed-freak adrenaline heaviness and shrouded occult mystery of Tyranny and Mutation is the watermark for Blue Öyster Cult’s creative invention, it is Secret Treaties that is widely and critically regarded as the band’s classic. Issued in 1974, Secret Treaties is the purest distillation of all of BÖC’s strengths. Here the songs are expansive, and lush in their textures. The flamboyance is all here, and so are the overdriven guitar riffs provided by Buck Dharma and Eric Bloom. …It’s a breathless rock monolith that is all dark delight and sinister pleasure. While the Cult went on to well-deserved commercial success with Agents of Fortune an album later, the freaky inspiration that was offered on their debut, and brought to shine like a black jewel on Tyranny and Mutation, was fully articulated as visionary on Secret Treaties.
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Paranoid was not only Black Sabbath’s most popular record (it was a number one smash in the U.K., and “Paranoid” and “Iron Man” both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbath’s signature sound — crushingly loud, minor-key dirges loosely based on heavy blues-rock — and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. … Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in their path, including their own limitations. Monolithic and primally powerful, Paranoid defined the sound and style of heavy metal more than any other record in rock history.
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