tag:blogger.com,1999:blog-33676000002635788102024-03-27T16:53:15.674-07:00Galactic RambleThis blog is a companion to FLASHBACK magazine, which I edit, and to my GALACTIC RAMBLE and ENDLESS TRIP books. All of these cover the 60s and 70s UK and US music scenes in detail. You can email me at flashbackmag@gmail.com.Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.comBlogger129125tag:blogger.com,1999:blog-3367600000263578810.post-17737215970008851302023-07-03T16:34:00.010-07:002023-08-27T04:47:35.467-07:00NIKIPEDIA<p><span style="font-family: times; font-size: large;"><b>The fundamental reason for writing my <a href="https://www.amazon.co.uk/Nick-Drake-Richard-Morton-Jack/dp/1529308089/ref=sr_1_1?crid=FMGI4AEIV90W&keywords=nick+drake+the+life&qid=1688427074&sprefix=%2Caps%2C128&sr=8-1" target="_blank"><span style="color: red;">biography of Nick Drake</span></a> was to create a factually accurate account of his life. As I worked on it, his estate asked if I would have a go at correcting the blizzard of errors in his Wikipedia entry (and those for his albums). I was - am - barely wiki-literate, but made a start. In no time at all I was blocked for ‘Long-term abuse: vandalism’ by <a href="https://en.wikipedia.org/wiki/User:Ad_Orientem" target="_blank"><span style="color: red;">this ‘Administrator’</span></a>, who promptly undid all my corrections. </b></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOom3fZrvFDjPxyvoyN2hB1yPs8Y-cryGckJG9PEraQn16IoEc3UQnMvTILZXKaP9OvChwh-s_fkh-G2UMpZj46_AZnyojOlLr-EUhKKSGoz3jDnpj62MfOt8ieRfFgy8BNQRGk1u_G9BqJgwAS4iDulJEV6JTBysRaesw42EEVAhJmZ_t3w0qm9o_Zq0/s1980/313969484_8280818225322218_1932141861477288624_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="922" data-original-width="1980" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOom3fZrvFDjPxyvoyN2hB1yPs8Y-cryGckJG9PEraQn16IoEc3UQnMvTILZXKaP9OvChwh-s_fkh-G2UMpZj46_AZnyojOlLr-EUhKKSGoz3jDnpj62MfOt8ieRfFgy8BNQRGk1u_G9BqJgwAS4iDulJEV6JTBysRaesw42EEVAhJmZ_t3w0qm9o_Zq0/w653-h304/313969484_8280818225322218_1932141861477288624_n.jpg" width="653" /></span></a></div><span style="font-size: large;"><br /></span><p><b><span style="font-family: times; font-size: large;">Last week the <i>Guardian</i> interviewed Trevor Dann, whose 2006 volume about Nick is cited throughout the main Wikipedia entry. He remarked that my book – which he hadn’t read – would be ‘Gabrielle’s version of the truth’. My response to that is: the truth is the truth, just as facts are facts.</span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-size: large;"><b><span style="font-family: times;">I’ll set out below the many errors in </span></b><b><span style="font-family: times;">Nick’s main Wikipedia entry, and those for his three albums. Almost all of them can be corrected by citing the relevant pages in my book (which is thoroughly footnoted and endnoted). I hope that will happen – though even if it does, what remains will still be a strange and partial account of his life and work.</span></b></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-size: large;"><b><span style="font-family: times;"><br /></span></b></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-size: large;"><b><span style="font-family: times;">(PS I am of course wide open to reliable contradictions of any of these corrections.)</span></b></span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;"> </span></b></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">Introduction <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake signed to Island Records when he was 20 years old’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 1:</b> Nick agreed to work with Joe Boyd’s Witchseason Productions company when he was 19. He never ‘signed to Island Records’.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘On completion of his third album, 1972's <i>Pink Moon</i>, he withdrew from both live performance and recording’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTIONS 2 and 3:</b> Nick gave his last known live performance in August 1970, well over a year before recording <i>Pink Moon</i>. After <i>Pink Moon</i> he made numerous attempts to resurrect his recording career. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Whether his death was an accident or suicide has not been resolved.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 4:</b> It was resolved on December 18th 1974, when the coroner carefully examined the evidence and found that Nick had committed suicide by taking a massive, deliberate overdose. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">1948–1966: Early life <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Rodney proposed in 1936, though they had to wait a year until she turned 21 before her family allowed them to marry.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 5:</b> This is made up. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘In 1950, the family returned to England to live in Warwickshire’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 6:</b> The Drakes returned to England in August 1951 <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Encouraged by his mother, Drake learned to play piano at an early age and began to compose songs which he recorded on a reel-to-reel tape recorder that she kept in the family drawing-room’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 7:</b> Nick is not known to have composed any songs until 1967<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘he went to Marlborough College, a public school in Wiltshire which had also been attended by his father, grandfather, and great-grandfather’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 8:</b> Nick’s great-grandfather did not attend Marlborough <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake played piano in the school orchestra’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 9:</b> No, he didn’t. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘In 1963 he attained seven GCE O-Levels’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 10:</b> Nick sat six O-Levels in 1963, and passed five <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘In 1965, Drake paid £13 (equivalent to £268 in 2021) for his first acoustic guitar, a Levin’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTIONS 11 and 12:</b> He bought his first guitar in December 1964. It was an Estruch. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘he won a scholarship to study at Fitzwilliam College, Cambridge’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 13:</b> He neither sought nor won a scholarship to Cambridge. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘He delayed attendance to spend six months at the University of Aix-Marseille’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 14:</b> The place he was offered was for October 1967, leaving him with 10 months to fill. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘He most likely began using LSD while in Aix’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 15:</b> There is no reliable evidence for this (or for his ever having 'used' LSD). <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">1967–1969: Cambridge <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake returned to England in 1967 and moved into his sister's flat in Hampstead, London.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 16:</b> His sister never lived in Hampstead. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘In September 1967, Drake met Robert Kirby’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 17:</b> This would mean they’d met before starting at Cambridge. They met in January 1968. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘A music student who went on to write many of the string and woodwind arrangements for Drake's first two albums.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 18:</b> Kirby collaborated with Nick on four songs for <i>Five Leaves Left</i> and five for <i>Bryter Layter</i>. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘He began performing in local clubs and coffee houses around London’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 19:</b> There is no evidence for Nick having done so at this time, though he played at Les Cousins (and a couple of other venues around London) a few times as of late 1969. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Witchseason Productions, which at the time was licensed to Island Records’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 20:</b> Witchseason was licensed to Polydor as of late 1967. Its arrangement with Island began in September 1968. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Boyd, who had discovered Fairport Convention and introduced John Martyn and the Incredible String Band to a mainstream audience…’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 21:</b> Joe Boyd had had nothing whatsoever to do with John Martyn’s career at this point. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘[Boyd] and Drake formed an immediate bond, and Boyd acted as a mentor to Drake throughout his career.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 22:</b> This is a considerable exaggeration. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Impressed by a four-track demo recorded in Drake's college room…’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 23:</b> There is no evidence for where the tape was recorded, but it is highly unlikely to have been in his college room. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘According to Drake's friend Paul Wheeler, Drake had already decided not to complete his third year at Cambridge and was excited about the contract.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 24:</b> Nick had not met Paul Wheeler at this point; Paul Wheeler has never suggested otherwise. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">Five Leaves Left (1969) <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake recorded his debut album <i>Five Leaves Left</i> later in 1968, with Boyd as producer.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 25:</b> Nick and Joe began work on <i>Five Leaves Left</i> in February 1968. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘He had to skip lectures to travel by train to the sessions in Sound Techniques studio, London.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 26:</b> This is not the case. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘the sessions were irregular and rushed, taking place during studio downtime borrowed from Fairport Convention's production of their <i>Unhalfbricking</i> album.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTIONS 27 and 28:</b> The <i>Five Leaves Left</i> sessions were regular and leisurely and did not take place during 'studio downtime'. Fairport Convention were one of several other acts Boyd was concurrently working with. For much of 1968 they were working towards <i>What We Did On Our Holidays</i>, not <i>Unhalfbricking</i>.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Tension arose as to the direction of the album: Boyd was an advocate of George Martin's approach of using the studio as an instrument, while Drake preferred a more organic sound.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 29:</b> This is unfounded. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Kirby had previously presented Drake with some arrangements for his songs.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 30:</b> Kirby never ‘presented’ arrangements to Nick; they worked in close collaboration. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Post-production difficulties delayed the release by several months’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 31:</b> Work on <i>Five Leaves Left</i> ended in late April 1969, and there were no ‘post-production difficulties’: it was released efficiently two months later. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘It received little radio play outside shows by more progressive BBC DJs such as John Peel and Bob Harris.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 32:</b> John Peel is not known to have played anything from <i>Five Leaves Left</i> on air. Bob Harris was not a BBC DJ in 1969. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake was unhappy with the inlay sleeve’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 33:</b> There is no evidence whatsoever for this. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">Bryter Layter (1971) <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake ended his studies at Cambridge nine months before graduation and in late 1969 moved to London.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTIONS 34 and 35:</b> Nick was based in his own flat in London as of August 1969. He left Cambridge that October, seven months before he would have sat his finals. His earliest graduation date would have been in the autumn of 1970. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake spent his first few months in London drifting from place to place, occasionally staying at his sister's Kensington flat’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTIONS 36 and 37:</b> Nick was based in his own flat in London as of August 1969. His sister never had a ‘Kensington flat’. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘On 5 August 1969, Drake recorded five songs for the BBC's John Peel show ("Cello Song", "Three Hours", "River Man", "Time of No Reply" and an early version of "Bryter Layter"), three of which were broadcast the following night.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 38:</b> On 5 August 1969 Nick pre-recorded four songs (Time Of No Reply, Cello Song, River Man and Three Hours) for an episode of <i>Night Ride</i> that happened to be presented by Peel, though Nick didn’t meet him. The songs were broadcast at five past midnight that night (in other words, the early hours of August 6th). Nick subsequently recorded Bryter Layter for another BBC radio broadcast, in April 1970. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘On 24 September, he opened for Fairport Convention at the Royal Festival Hall in London’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 39:</b> John and Beverley Martyn opened this concert. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘the few concerts he did play were usually brief, awkward, and poorly attended.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 40:</b> Most of his concerts were extremely well-attended, and several of them took place in packed halls. Accounts of their brevity and awkwardness vary considerably. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Cale used heroin during this period, and his older friend Brian Wells suspected that Drake was also using.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTIONS 41 and 42:</b> Brian Wells is younger than Nick, and has never suspected that Nick was a heroin user. (There is no evidence for Nick having ever so much as tried it.)<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘<i>Melody Maker</i> described the album as "an awkward mix of folk and cocktail jazz".’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 43:</b> No review has ever stated that, in <i>Melody Maker</i> or elsewhere.</span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times;"><span style="font-size: large;"> </span></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Soon after its release, Boyd sold Witchseason to Island Records and moved to Los Angeles to work with Warner Brothers’<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 44:</b> Boyd had sold Witchseason and moved to Los Angeles months before the release of <i>Bryter Layter.</i> <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘In 1971, Drake's family persuaded him to visit a psychiatrist at St Thomas' Hospital, London.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 45:</b> This took place in July 1972. Nick attended at the recommendation of numerous people, including Joe Boyd. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘He worried about [antidepressants’] side effects and was concerned that they would react with his regular cannabis use.’<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 46:</b> By general consensus Nick had largely stopped smoking dope as of 1971. He was first prescribed antidepressants in July 1972, and there is no evidence for his ever having considered their reaction with cannabis. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘He rarely left his flat, and then only to play an occasional concert or to buy drugs.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 47:</b> Nick had moved back to Far Leys in April 1971, by which time he had long since stopped playing concerts. By general consensus he had largely stopped smoking dope as of 1971. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>Pink Moon (1972)</b><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Although Island neither expected nor wanted a third album…’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 48:</b> Island very much wanted Nick to continue recording for them. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake had expressed dissatisfaction with the sound of <i>Bryter Layter</i>’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 49:</b> There is no evidence for this. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake delivered the tapes of <i>Pink Moon</i> to Chris Blackwell at Island Records’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 50:</b> Nick handed Blackwell a copy of the album that John Wood had run off for him, not ‘the tapes’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;"> </span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Blackwell felt <i>Pink Moon</i> had the potential to bring Drake to a mainstream audience’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 51:</b> Blackwell was well aware that it was uncommercial but was happy to release it exactly as Nick wished. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;"> </span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘At Boyd's insistence, Drake agreed to an interview with Jerry Gilbert of <i>Sounds</i> Magazine.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 52:</b> This interview took place in March 1971, not at the time of <i>Pink Moon</i>, and had nothing whatsoever to do with Joe Boyd. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake retired from music. He toyed with the idea of a different career and considered the army.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 53:</b> Nick never ‘retired from music’. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘His three albums had together sold fewer than 4,000 copies.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 54:</b> this is a considerable underestimate <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">1972–1974: <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">Changes in life and health <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake lived a frugal existence; his only income was a £20-a-week retainer from Island Records (equivalent to £257 in 2021).’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 55:</b> This is garbled. His ‘retainer’ was a publishing advance that ceased when he made a new arrangement with Chris Blackwell following Joe Boyd’s departure for America. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘At one point he could not afford a new pair of shoes.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 56:</b> The reference to his shoes is drawn from a statement his mother made: ‘He had just one pair of shoes, which was completely worn out. He wouldn’t have anything different.’ In other words, the point is that he did not want new shoes, not that he couldn’t afford them. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘John Martyn (who in 1973 wrote the title song of his album <i>Solid Air</i> about Drake)’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 57:</b> Martyn wrote Solid Air in July 1972. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake would borrow his mother's car and drive for hours without purpose, until he ran out of petrol’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 58:</b> Nick drove his own cars, only very occasionally borrowing his mother’s. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Early in 1972, Drake had a nervous breakdown, and was hospitalised for five weeks.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 59:</b> Nick’s nervous breakdown took place in late April 1972. He attended hospital voluntarily and intermittently over the next few months. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘In February 1973, Drake contacted John Wood, saying he was ready to begin work on a fourth album. Boyd was in England at the time and agreed to attend the recordings.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTIONS 60 and 61:</b> Nick had not made any mention of ‘a fourth album’ to John Wood, who had no idea what to expect. Joe Boyd had nothing to do with the February 1973 recordings. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘the return to the Sound Techniques studio raised Drake's spirits; his mother recalled, "We were so absolutely thrilled to think that Nick was happy because there hadn't been any happiness in Nick's life for years." <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 62:</b> Nick was despondent after both the February 1973 and July 1974 sessions. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘He had tried to stay in touch with Sophia Ryde, whom he had met in London in 1968.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 63:</b> Nick met Sophia Ryde in the summer of 1967. They maintained friendly contact until their final meeting in March 1974, though she sent him a birthday card in June 1974. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Ryde has been described by Drake's biographers as "the nearest thing" to a girlfriend in his life’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 64:</b> She was not ‘the nearest thing to a girlfriend in his life’. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘In a 2005 interview, Ryde said that a week before he died, she had sought to end the relationship’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 65:</b> She said no such thing. They had last communicated in March 1974, over 8 months before his death.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake's relationship with Ryde was not consummated.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 66:</b> Nick had no ‘relationship’ with Sophia to consummate. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">Death <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘During the early hours of 25 November 1974, Drake died in his bedroom at Far Leys.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 67:</b> Nick is reckoned to have died at around 6am. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘He had gone to bed early after spending the afternoon visiting a friend.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 68:</b> He went to bed at around 10:30 having spent the entire day at home with his parents. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘no post-mortem examination was carried out.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 69:</b> A post-mortem was carried out by the pathologist Kenneth Holly. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Nick's body was first discovered by their housemaid’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 70:</b> Naw was not a ‘housemaid’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘a letter addressed to Ryde was found close to his bed.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 71:</b> When sorting through Nick’s room after his death his parents found an unsent note to Sophia from March 1974. It had no relevance to his death. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘The funeral was attended by around fifty mourners, including friends from Marlborough, Aix, Cambridge, London, Witchseason, and Tanworth. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 72:</b> No friends from Marlborough, Aix or Witchseason attended Nick’s funeral.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">Posthumous popularity <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘in 1979 Rob Partridge joined Island Records as press officer and commissioned the release of the <i>Fruit Tree</i> box set.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 73:</b> <i>Fruit Tree</i> was originally due to be released on November 24th 1978 and was not ‘commissioned’ by Island’s press officer. It had been under discussion for a long time.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">Musical and lyrical style <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake was drawn to the works of William Blake, William Butler Yeats, and Henry Vaughan, whose influences are reflected in his lyrics.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 74:</b> There is no evidence that Nick was ‘drawn to the works of’ Yeats or Vaughan, though commentators might infer it <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘from <i>Bryter Layter</i> on, his language is more autumnal, evoking a season commonly used to convey senses of loss and sorrow’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 75:</b> This is unsupported by evidence <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">Appraisal <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake received little critical success during his lifetime’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 76:</b> Over 65 reviews of Nick’s albums are known to have appeared in his lifetime, the overwhelming majority of them positive and many of them rapturous. </span><span style="font-family: Cambria, serif;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">FIVE LEAVES LEFT <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘<i>Five Leaves Left</i> was recorded between July 1968 and June 1969 at Sound Techniques in London, England.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 77:</b> Nick began making recordings towards the album with Joe Boyd and John Wood in February 1968, though work began in earnest on Friday, May 10th 1968. The final session took place on Tuesday, April 22nd 1969. It was also recorded at Morgan, in Willesden. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Robert Kirby, a friend of Drake's from his youth…’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 78:</b> Robert and Nick met at Cambridge in February 1968. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Released 3 July 1969’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 79:</b> It was released on Friday, July 4th 1969 (Island released albums on Fridays - the original print ad contained the wrong date). <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Uncredited – flute’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 80:</b> The flute on The Thoughts Of Mary Jane was played by Lyn Dobson <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Until the 1990s Drake's albums had been critically and popularly ignored’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 81:</b> Nick’s work was constantly available, regularly repackaged, and often assessed by critics in the 1970s and 1980s. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">BRYTER LAYTER <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Initially scheduled for release in November 1970, with UK promotional copies being sent out at the time…’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 82:</b> It was originally scheduled for release in May 1970, then ‘autumn 1970’, then November, then December, then ‘late January’ 1971. No promotional copies are known to have been circulated. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘dissatisfaction with the artwork meant that the album was held over into the New Year’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 83:</b> This is unfounded. Delays in its appearance owed to several other factors, such as postal strikes, Joe Boyd’s return to the US, Island’s acquisition of Witchseason, a major rebranding exercise at Island and Island’s preparation of its ‘El Pea’ campaign. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><b><span style="font-family: times; font-size: large;">PINK MOON <o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Recorded 30-31 October 1971’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 84:</b> The precise recording dates are unknown. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Released two years before Drake's death in November 1974’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 85:</b> It was released two years and nine months before Nick’s death. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘In 1971 he saw a psychiatrist and was prescribed antidepressants’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 86:</b> Nick first saw a psychiatrist in 1972. He was first prescribed antidepressants in July 1972. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘his fears concerning the medication's interaction with marijuana…’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 87:</b> This is unfounded. In addition, Nick smoked hashish, not marijuana. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Cally Calloman of Bryter Music’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 88:</b> Cally Callomon <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘in his only interview, published in <i>Sounds</i> magazine in March 1971…’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 89:</b> Nick gave at least one more interview (which appeared in <i>Jackie</i> magazine of May 28th 1970). <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘After a brief hiatus in Spain spent at a villa belonging to Island Records' head Chris Blackwell’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 90:</b> it was an apartment, not a villa <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Drake delivered the master tapes of <i>Pink Moon</i> to Chris Blackwell at Island’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 91:</b> Nick delivered a copy that John Wood had run off for him, not ‘the master tapes’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> Keith Morris ‘was commissioned to photograph Drake for the cover of <i>Pink Moon</i>. However, the photos were not used as Drake's rapidly deteriorating appearance, hunched figure and blank expression were not considered good selling points.’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 92:</b> It was never suggested that a photograph of Nick would appear on the cover of <i>Pink Moon</i>. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Island picked a piece of surrealist Dalí-esque art by Michael Trevithick’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 93:</b> Island did not ‘pick’ the artwork. Trevithick was commissioned to create it. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Michael Trevithick, who was incidentally a friend of Drake's sister Gabrielle’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 94:</b> Michael and Gabrielle had never met <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Although Drake was not outspoken in his opinion on the cover art of <i>Pink Moon</i>, many close to him felt that he approved’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 95:</b> Nick is not known ever to have expressed any view on the matter. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> Island ‘spent the entire promotional budget on full-page advertisements in all major music magazines the month of the record's release’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 96:</b> This is unfounded and inaccurate. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Jerry Gilbert of <i>Sounds</i>, who had conducted the only known interview with Drake the previous year…’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 97:</b> An earlier interview with Nick had appeared in <i>Jackie</i> magazine of May 28th 1970. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘The first notable cover versions of Nick Drake songs were released in 1992…’ <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 98:</b> Numerous covers of Nick’s songs had been released as far back as 1970. Which ones are ‘notable’ is of course moot. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: times; font-size: large;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>WIKIPEDIA:</b> ‘Full page advertisement of the release of <i>Pink Moon</i>’ [picture caption] <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: times; font-size: large;"><b>CORRECTION 99:</b> The picture is of a small ad for the American release, and appeared in <i>Rolling Stone</i> (June 22nd 1972) and <i>Fusion</i> (August 1972).</span><span face="Calibri, sans-serif"><o:p></o:p></span></p>Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com1tag:blogger.com,1999:blog-3367600000263578810.post-18076336144512790792023-02-22T14:00:00.007-08:002023-02-26T08:41:20.418-08:00NICK DRAKE - THE LIFE<p><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijiiz0Mvnh4UIFAeadV023u0ZMO3bCvckrygRmEOAtkQtxQIMrXVq3LtjZDWTGkv73JKLOMw50PZmU8xWXmJCdFw2310ph7ehLupTjuVL_ieiursxfTqzEeaEgh9w5IaozrqpL--q8x0qUWzrzAyfn9MOrxghVovDtV1jg5W2y2g9RRi1nSeQVKO9k/s1090/cover.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1090" data-original-width="710" height="429" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijiiz0Mvnh4UIFAeadV023u0ZMO3bCvckrygRmEOAtkQtxQIMrXVq3LtjZDWTGkv73JKLOMw50PZmU8xWXmJCdFw2310ph7ehLupTjuVL_ieiursxfTqzEeaEgh9w5IaozrqpL--q8x0qUWzrzAyfn9MOrxghVovDtV1jg5W2y2g9RRi1nSeQVKO9k/w278-h429/cover.png" width="278" /></a></span></div><span style="font-family: georgia; font-size: medium;">My biography of Nick Drake is to be published by John Murray on June 8th this year. </span><p></p><p></p><p><span style="font-family: georgia; font-size: medium;"><span>It has been a three-year undertaking, in the course of which I have researched Nick's life as thoroughly as I was able, </span><span>sifting through innumerable documents and </span><span>speaking to everyone I'm aware of who knew him. </span><span>I have worked closely with his sister and estate, but with no element of censorship.</span></span></p><p><span style="font-family: georgia; font-size: medium;"><span>Having finished the book, I have been asked whether I am now sick of him - and the answer is a sincere 'no'. Learning more about Nick has only increased my admiration for his talent</span><span> and sorrow at his early death</span><span>. </span><span>I was lucky enough to have first heard his music as an early teenager, and immersing myself in his world now has only deepened my </span><span>wonderment at what he left behind.</span></span></p><p><span style="font-family: georgia; font-size: medium;">I very much hope that you will have the same response if you read the book.</span></p>Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com0tag:blogger.com,1999:blog-3367600000263578810.post-66710256358185486302022-10-11T04:15:00.002-07:002022-10-12T04:26:51.140-07:00THE CAN - Sounds, May 1970<div class="separator" style="clear: both;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAav8ySMOwP4zIXpbIgqH7KtO61QCQBOkNEjYezyXh1cH4yEStKZoREXxPZOW27lPsMhvBJ3NZOIn6YnanQLL2j8MhB9M8xdJzBID5YQroOgsuFk3q_-RxuPBR29ehW30LhU_u8VPpw5iAVa5ScVqs-Rgv8rCydsjeTLj-CSrdi330K2dd7VyDHrs/s2479/Screenshot%202021-05-06%20at%2017.57.19.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2479" data-original-width="1774" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAav8ySMOwP4zIXpbIgqH7KtO61QCQBOkNEjYezyXh1cH4yEStKZoREXxPZOW27lPsMhvBJ3NZOIn6YnanQLL2j8MhB9M8xdJzBID5YQroOgsuFk3q_-RxuPBR29ehW30LhU_u8VPpw5iAVa5ScVqs-Rgv8rCydsjeTLj-CSrdi330K2dd7VyDHrs/w458-h640/Screenshot%202021-05-06%20at%2017.57.19.jpeg" width="458" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></b><span style="font-size: medium;"><span><b><span style="font-family: georgia;">Can recorded the mighty <i>Monster Movie </i>under their own steam. No major label showed an interest in releasing it, so they pressed it themselves in the autumn of 1969. This created a buzz in the local underground, prompting </span></b></span><b><span style="font-family: georgia;">Liberty to put it out in February 1970. </span></b><b><span style="font-family: georgia;">Here's perhaps the first major interview with a band member - Holger Czukay. It was conducted by Rainer Blome for the Cologne-based</span></b><b><span style="font-family: georgia;"> music magazine <i>Sounds</i></span></b><b><span style="font-family: georgia;"> and appeared in the May 1970 issue. The translation is by me. </span></b></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><b>How does your music differ from that of other bands? Probably primarily because of the somewhat unusual production process?</b> </span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Our production process is indeed different. It's not like a producer summons us into the studio at a set time and says, 'You can make your record in the time available'. We set up a studio in Schloss Norvenich near Cologne and only then did we make the record, without producers - we did it ourselves. Technically, of course, we're not nearly as well-equipped as the big companies. We can work with 4 tracks but not with a normal 4-track recording device, only with the help of tricks - homemade tricks. But the most important thing is that we have unlimited time. We work until the feeling is there, then make the recording. It helps tremendously not to have to work under constant time-pressure. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>Did you go into the studio with fixed ideas, or did everything just develop there?</b> </span></div><div><span style="font-family: georgia; font-size: medium;">We go into the studio completely unprepared, nothing is written or planned beforehand. The studio is also our ideas workshop. </span></div><div><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></div><div><span style="font-family: georgia; font-size: medium;"><b>There's a piece on your record entitled Mary Mary, So Contrary, for which The Can is credited. I also know it from an American folk duo whose name escapes me at the moment. Don't get me wrong, I'm not accusing you of plagiarism, I'm more interested in how you work, where you get your song concepts from.</b> </span></div><div><span style="font-family: georgia; font-size: medium;">Our singer, Malcolm Mooney, brought this song idea with him. It's an American children's song that we originally played straight, then made something new out of. But that wasn't really a 'concept'. With us a 'concept' only arises when a piece is already finished. We usually just start playing something - maybe one of us plays something he has previously thought about that he wants to play. Of course, the others don't know it and just play along with it. Since we let the tape recorder run, we may decide afterwards that it was valid, that it could be developed further by adding this or that, changing the harmony at another point or not. Or perhaps one person says to the other, 'Do this or that a little differently'... That is how we create the pieces. It's improvised teamwork, and occasionally what we have played spontaneously is the end result. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><b><span style="font-family: georgia; font-size: medium;">So that's the playing process for your pieces. What do you then do with the recorded music? Is it manipulated technically, or do you just mix the tracks according to dynamics? </span></b></div><div><span style="font-family: georgia; font-size: medium;">
First of all, Monster Movie consists exactly of the music that we played in the studio. Of course, we work with playbacks, but this method is only ever used from the point of view of whether it agrees with the ideas that arose while playing. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><b><span style="font-family: georgia; font-size: medium;">Were the electronic effects on the LP created whilst playing? </span></b></div><div><span style="font-family: georgia; font-size: medium;">
Partly, yes, but - for example - the buzzing noise that runs throughout Father Cannot Yell was added later. But we never use electronic effects for mere decoration. They always have a direct connection to the music. We don't care for gimmicks. Of course, listening to what we are playing, occasionally one of us finds that the sound has to be tweaked at a certain point in order to sound better. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>Your singer Malcolm Mooney (who is no longer with you) is from America. Could you tell us about him?</b> </span></div><div><span style="font-family: georgia; font-size: medium;">Malcolm was originally a sculptor and has travelled over almost all the world. He always has a saxophone with him. Irmin met him in Paris in 1968 and shortly thereafter he came to Cologne and joined us as a singer. He's a natural, so to speak, because he had never sung before. He not only improvises the music, but mostly the lyrics as well. Even on You Doo Right, which previously had fixed lyrics, Malcolm changed his lyrics while recording. It isn't entirely true that he isn't with us any longer, because he's still part of our group. He got pretty sick and went back to New York. It may be that he comes back next month, or in a year. In any case, he remains a member of the Can. But in the meantime we're trying to find a replacement for him. </span></div><div><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></div><div><b><span style="font-family: georgia; font-size: medium;">Surely you don't literally mean that your current singer Lee Gates only works as a stand-in? </span></b></div><div><span style="font-family: georgia; font-size: medium;">
No, of course not. Lee sings very differently, and our music changes because of him. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>I want to return to my first question, because you haven't quite answered it yet. How does your music differ from that of other bands?</b> </span></div><div><span style="font-family: georgia; font-size: medium;">We don't set out to differentiate ourselves from other bands, but I don't think anyone drums like Jaki, or anyone plays guitar like Michael. It's like we talk a different language, even though we use the same words. In this respect, everyone from the Can is different from every other rock musician in the world. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><b><span style="font-family: georgia; font-size: medium;">Where do you see your position as regards Anglo-Saxon pop music? </span></b></div><div><span style="font-family: georgia; font-size: medium;">
I listen to a lot of things in order to inform us. We don't have any role models, though of course we like a few things. Jaki used to have role models in jazz: he wanted to drum like Max Roach, but that's more or less over. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>When an unbiased listener listens to your LP, it's tough. Someone who's only listened to English or American bands before will maybe discover similarities to groups like the Velvet Underground. </b> </span></div><div><span style="font-family: georgia; font-size: medium;">Okay. Good. Then he discovers them. There are so many bands in 'new' pop that there are bound to be similarities. The Velvet Underground has a similar line-up to us, so why shouldn't the sound be the same? </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>Do you think that records made by good German (or non-Anglo-Saxon) groups will stand a chance in the future?</b> </span></div><div><span style="font-family: georgia; font-size: medium;">For sure. For example, I know that the first Amon Duul LP has sold well, and Monster Movie is doing very well too. The company has already sold more of them than it ever thought possible. Original music will always prevail, regardless of whether it is played by an English, American, Danish or German band. Maybe there aren't that many groups in Germany that are good yet, but it's probably only just beginning. Perhaps more publicity should be given and more performing opportunities created. It would be great, for example, if German promoters allowed German bands to open on tours by well-known American or English bands. It's definitely better than having third or fourth-rate bands perform just because they're from England. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><b><span style="font-family: georgia; font-size: medium;">The playing opportunities in Germany are probably also limited because you can't play in most clubs. They're too old-fashioned, too small and without the right atmosphere. In what framework should your music be presented? </span></b></div><div><span style="font-family: georgia; font-size: medium;">
Right, the existing clubs are old-fashioned. Nobody feels comfortable in them. The best are clubs like those in London, New York, San Francisco, Birmingham, Detroit, Boston and Chicago, or the Creamcheese in Dusseldorf. People need to be able to dance, watch movies, drink and move. Basically, the concert halls are shit because they're only built for classical concerts, with all the trimmings. </span></div><div><b><span style="font-family: georgia; font-size: medium;"><br /></span></b></div><div><b><span style="font-family: georgia; font-size: medium;">The Can has existed since the autumn of 1968. Have you consciously refrained from becoming well-known? </span></b></div><div><span style="font-family: georgia; font-size: medium;">
Yes, quite consciously, because we felt we first had to grow together as a group - that is, to be able to offer good music - before we presented ourselves to the public. We also turned down offers to perform because we wanted to be 100% happy with ourselves first. To put it bluntly, we don't believe in firing half-cocked. We only played in Zurich for three months in 1969 because we had the chance to take part in Max-Peter Ammann's production of Prometheus at the Stadttheater, which turned out to be a bad decision. Otherwise we have made film music for Peter Schamoni, Roger Fritz and Franz-Josef Spieker. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><b><span style="font-family: georgia; font-size: medium;">You now have a pretty good group dynamic. Would a new man fit in? </span></b></div><div><span style="font-family: georgia; font-size: medium;">
Actually, anyone can play with us. Even Roy Black [<i>a popular schlager singer – RMJ</i>], who would certainly sing differently with us. What's important is that everyone offers each other the freedom to do their own thing. For example, if Jaki had made a huge spectacle on his drums right from the start and dominated everything so that the others couldn't unfold, that would not have been possible. A new man would have total freedom, we would under no circumstances force him to work in our direction. Our music is too flexible for that. So a new man would inevitably change our music. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>Are you already working on a new record?</b> </span></div><div><span style="font-family: georgia; font-size: medium;">Yes, we have recorded a single and one track that will be released on a Liberty sampler in May [<i>Soul Desert, on Electric Monster Rock Show - RMJ</i>]. This will also be included on our next LP, which we are working on. Of course, that won't take forever. We think it will be ready in the autumn. We're going to do some ideas that we've come up with already, things we've done before but haven't got on tape yet and want to finish. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>You have a production company called 'Inner Space' and have contracts with a Munich promo company and with Liberty. Does the record deal secure you an income?</b> </span></div><div><span style="font-family: georgia; font-size: medium;">No, the contract does not secure us a fixed income. It all depends on how the LP sells. Our contract provides for at least two LPs and two singles over the course of 1970. We received a small advance, but that will be accounted for later. Our contract, which is valid for 3 years, came about like this: I took the finished Monster Movie tape from company to company for months. Either one of them said, 'It's pretty nice for a German group, but the Americans and the English do it better' or another said, 'It's very good but you come from Germany. You have to write a few hits first so that you become known'. Such are the prejudices against German groups in the German industry. At first Liberty was no different, so we then spontaneously decided to press the album ourselves. It was only via this detour that Liberty suddenly showed great interest. Liberty in England was also enthusiastic about the record and immediately offered to release it.</span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><b>So a German pop group has it incredibly hard, no matter how good they are. What do you think of the idea of starting a cooperative of progressive German groups, as was recently attempted on the initiative of Tom Schroder from SONG in Mainz? Could that improve the situation?</b> </span></div><div><span style="font-family: georgia; font-size: medium;">In principle, it's an excellent idea for German groups to set up a co-operative with a few organisationally talented people. With an over-arching presentation one could awaken listeners to the fact that there are German bands with something to offer. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><b><span style="font-family: georgia; font-size: medium;">That would definitely be an advantage. But such a co-operative could also have the disadvantage of giving rise to a kind of sectarianism stemming from too great a national identity... The German Jazz Federation failed because of this. </span></b></div><div><span style="font-family: georgia; font-size: medium;">
Of course, it would be shit if that happened. Such a co-operative should not act nationalistically, it should remain open to the international community. The only justification for such an association would be that it would contradict the prejudice that there are no good German groups. Once that has been achieved, it would no longer have any reason to exist.</span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkRFZtrJrf_0wt2vKT8TxsrGAgIWDgu-EPdHCxm90UB2H4RzkawkonFblguHiL5bVjUO6gHfyQjjOgYsRGXuVQ8AuqK3bqqxteZecsX8TjRJz6WUvY2I_8C9xTa9aqxBKFeQED24FcfrdUgLUeZ6EKL6TnhFfucLEsHc4O-w-0iNaYlpU8gFaZCJdr/s2684/ssr.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1998" data-original-width="2684" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkRFZtrJrf_0wt2vKT8TxsrGAgIWDgu-EPdHCxm90UB2H4RzkawkonFblguHiL5bVjUO6gHfyQjjOgYsRGXuVQ8AuqK3bqqxteZecsX8TjRJz6WUvY2I_8C9xTa9aqxBKFeQED24FcfrdUgLUeZ6EKL6TnhFfucLEsHc4O-w-0iNaYlpU8gFaZCJdr/w640-h475/ssr.jpeg" width="640" /></a></div><br /><span style="font-family: georgia; font-size: medium;"><br /></span></div>Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com0tag:blogger.com,1999:blog-3367600000263578810.post-47501359772809271412022-06-07T13:20:00.003-07:002022-06-07T13:20:46.235-07:00IPSISSIMUS: 'A heavy sound with walloping drums'<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCbj9o1lglJ8wg3gC36gZSbDmkuPjPUO8OjXwzhiuuK7b53D6qKeZzat_z_5s6bXUfAdQmCOAggpT5IwFDmW2AigHFYFhsETsnQsE2fhFXhnBIeQl1y4iFwpi0r-O1NUxeMJcCvzSz6khsP2vZNvugxKMC4UM1wxFQNL0_hTrTT2PABxFxNdERCmGV/s4948/ips.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2476" data-original-width="4948" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCbj9o1lglJ8wg3gC36gZSbDmkuPjPUO8OjXwzhiuuK7b53D6qKeZzat_z_5s6bXUfAdQmCOAggpT5IwFDmW2AigHFYFhsETsnQsE2fhFXhnBIeQl1y4iFwpi0r-O1NUxeMJcCvzSz6khsP2vZNvugxKMC4UM1wxFQNL0_hTrTT2PABxFxNdERCmGV/w640-h320/ips.jpeg" width="640" /></a></div><span style="font-family: georgia;"><b><p><b>Ipsissimus released only one single, Hold On / Lazy Woman, which appeared in April 1969. The A-side is a belting cover of a song previously recorded by Rupert’s People and Sharon Tandy, while the B-side is a heavy psychedelic blues by their bassist Steve Oliver. Steve was kind enough to tell me the band’s basic history for posterity, as below...</b></p></b></span><p></p><p></p><p><span style="font-family: georgia;">"Len Deathridge, Reg King, Chris Evans and I met at Eastbury Secondary School in Barking in the early 60s. We formed a band called the Colts, with Len on lead guitar, Chris on rhythm guitar, me on bass, Reg on drums and a guy called Len Morgan singing. We were discovered in 1963 by Norman Newell, who produced Shirley Bassey for EMI. He didn’t sign us up but he did record Len Morgan as a solo act (under the name Tony Nelson), with us backing him. </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;">That opened the door for us to play on sessions for various other people including Frank Ifield, and to provide backings for demos or auditions at Abbey Road on Saturday mornings. One was for Gary Glitter, although he wasn’t called that then, and another was for Graham Bonney. </span><span style="font-family: georgia;">We were in and out of Abbey Road up until 1970, but we only saw the Beatles o</span><span style="font-family: georgia;">n one occasion, in the canteen, and we didn’t speak to them.</span><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;">We used to rehearse in a youth club in Barking, which the Tremeloes also used, and produced our own demos there on a Revox machine. We got a contract with Pye as a four-piece, I can’t remember how, and made a single that came out in October 1965. The A-side was an American folk song called San Miguel and the B-side was a song of ours called Where Has Our Love Gone. The producer was Mike Smith. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;">In 1966 we began to focus on covers of harmony material by The Beach Boys, the Byrds and the Mamas & the Papas. We gigged two or three nights a week all over the country, often at colleges, as well as having a regular Sunday lunchtime session at the Merry Fiddlers in Dagenham. We tended to play in local pubs or halls rather than London clubs, though we did once play at the Electric Garden in Covent Garden in 1967. We supported the Herd, Episode Six, Family and various others at this time. We were aware of drugs, of course, but we weren’t at all druggy ourselves and we didn’t see an awful lot of them around. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="margin: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURGZbRNowaNM2aYaPtu3cxpODlH2kFmhUDYuICag9J-e8mQdbzKvLcYPoUgwToqRxM1KuSpUZ5o6IU0DZRmvLUc9DfNSPXoG5AMAuJIUgkmNEAxoTBRtLvSmGz7H5L32zB-3KpHhKt9aFb9w6C3f_Guy8zkXJjN4wy9iuwppcGcJ5-XTPFWxrD1t9/s3232/IMG_3774.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2336" data-original-width="3232" height="459" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURGZbRNowaNM2aYaPtu3cxpODlH2kFmhUDYuICag9J-e8mQdbzKvLcYPoUgwToqRxM1KuSpUZ5o6IU0DZRmvLUc9DfNSPXoG5AMAuJIUgkmNEAxoTBRtLvSmGz7H5L32zB-3KpHhKt9aFb9w6C3f_Guy8zkXJjN4wy9iuwppcGcJ5-XTPFWxrD1t9/w660-h459/IMG_3774.jpeg" width="660" /></a></div><span style="font-family: georgia;">Over the course of 1968 we developed a heavier style. Sometime that year my brother-in-law Tony Sales replaced Chris Evans on rhythm guitar and we decided to rename ourselves – the Colts seemed pretty naff by then, and our manager Dave Matthews saw the word Ipsissimus in <i>The Devil Rides Out </i>by Dennis Wheatley.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicXhfVNSaeDtN3_b4bOZdnXxvjB4owsb9caUFd6KQ-w_2ivJKcdTiTbI5c1HgTG7RGatNmAfOg7RyqPALlhP52iGAF7Tc8fKfVNtQKpf12n_fs8Yv6jR1akuLtrkgvC6PDkvSep9Rgs2Fre9y8kXzcu0uD9gigZbI42mDup2USi2pOSpCvoFb-iigV/s897/Dagenham%20Roundhouse.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="671" data-original-width="897" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicXhfVNSaeDtN3_b4bOZdnXxvjB4owsb9caUFd6KQ-w_2ivJKcdTiTbI5c1HgTG7RGatNmAfOg7RyqPALlhP52iGAF7Tc8fKfVNtQKpf12n_fs8Yv6jR1akuLtrkgvC6PDkvSep9Rgs2Fre9y8kXzcu0uD9gigZbI42mDup2USi2pOSpCvoFb-iigV/s320/Dagenham%20Roundhouse.jpeg" width="320" /></a></span></div><span style="font-family: georgia;">Dave’s brother Bob drove our van. When he heard Rupert’s People playing Hold On he suggested that we could do our own version. It was in our live set for a long time and always went down well. It became our signature song, I suppose. On stage we would stretch out on it, and Len used to do a section through an amplified Stylophone, which made various weird sounds – he even played it through a wah-wah!<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;">We continued to provide backing for EMI auditions, some of which were performed at EMI’s head office in Manchester Square, where there was a small theatre. Various A&R men and producers and engineers would be milling around. At one Saturday morning session there we played Hold On as a warm-up and the producer Jonathan Peel and the engineer Norman Smith pricked up their ears and both offered to record us. In the end they agreed to proceed together. Dave negotiated with EMI and they paid us enough to buy new amps, for Len to buy a Fender electric 12-string (the first in the country) and for me to buy a 5-string Fender bass. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglu8ovXrOSoznt20dbNBOzAwzbN6ftBW-2luVRgGb9WZvazNS-Z-huCgxY7dLG-JAOWcnHc0n0yLHfEOVqWDNv-1KUmJA7aEogCeqdhe24DlRQOv1YDFIEBVkjPe1lx4peM0i8KOZfpUObr9u8LF7AQOnCDz7yIHlGky4H432hiSNBwwtNiec3Og-E/s3070/NME%20April%2026th%2069.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3070" data-original-width="2385" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglu8ovXrOSoznt20dbNBOzAwzbN6ftBW-2luVRgGb9WZvazNS-Z-huCgxY7dLG-JAOWcnHc0n0yLHfEOVqWDNv-1KUmJA7aEogCeqdhe24DlRQOv1YDFIEBVkjPe1lx4peM0i8KOZfpUObr9u8LF7AQOnCDz7yIHlGky4H432hiSNBwwtNiec3Og-E/w311-h400/NME%20April%2026th%2069.jpeg" width="311" /></a></span></div><span style="font-family: georgia;">Our single was recorded over the course of a long day (and into the evening) at Abbey Road in March 1969. If you listen carefully you can hear Len playing Stylophone behind the chorus on Hold On. Norman and Jonathan were both there, but Norman did most of the work. We taped more than the two songs that were released – one other song (whose title escapes me) featured Norman playing harpsichord. When the single came out in April Tony Blackburn played it and said how awful it was, adding that it was nowhere near as good as Tamla Motown. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;">By then we were doing quite well as a heavy band, and often supported big-names at the Dagenham Roundhouse, the King’s Head in Romford and other venues in Chadwell Heath and Stratford. We played with bands including Led Zeppelin, Taste, Deep Purple and Black Sabbath. The problem was that they all tended to play so loudly that most of the subtlety of what they were doing was lost - at the Dagenham Roundhouse everyone had to play through the house PA system and drums were never miked.</span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikGd5hD7F8pX6chQIa6MMFQrHOOpJu-0aAISB-hQ4QjofYJpSVkbIHxTZQ-00Cu8Jcu6eq0yMKpdbR3H3aYlUTwoeIx9JK3VJl6Czk9LDqRM2IoKwz2G157bVSFMFHcn6EVxg1udcTYhECcqhnJCM-qGYb2o1wCfU2WHdiR0iBW4z0sksuE752jRx_/s1591/NME%20April%2026th%2069ii.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="710" data-original-width="1591" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikGd5hD7F8pX6chQIa6MMFQrHOOpJu-0aAISB-hQ4QjofYJpSVkbIHxTZQ-00Cu8Jcu6eq0yMKpdbR3H3aYlUTwoeIx9JK3VJl6Czk9LDqRM2IoKwz2G157bVSFMFHcn6EVxg1udcTYhECcqhnJCM-qGYb2o1wCfU2WHdiR0iBW4z0sksuE752jRx_/s320/NME%20April%2026th%2069ii.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">NME, April 26th 1969</span></i></td></tr></tbody></table><span style="font-family: georgia;">Our EMI contract called for a minimum of two singles, with an option for further singles and an album. The problem was, by the middle of 1969 we were moving back towards folk-rock and wanted our second single to be a cover of Someday Soon by Ian Tyson, with The Gallery by Joni Mitchell on the B-side. We recorded it but EMI had signed us as a heavy band, so they turned it down and it never got released. We also had our own material in the same style, but they didn’t like that either so they dropped us. Jonathan Peel was unimpressed by our change of style and it all fizzled out. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: georgia;">Chris White of the Zombies then showed an interest in recording us independently, so we made some demos with him, but they didn’t get anywhere. We never split up, we just evolved into different line-ups and styles. For several years in the 70s we played pub-rock as Jerry The Ferret, then morphed into more of a country band. I had no idea anyone was interested in the Ipsissimus single until fairly recently. Sadly Len Deathridge and Tony Sales have passed away, but I’m still in touch with Reg King.</span><span style="font-family: Cambria, serif;">"</span></p>Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com0tag:blogger.com,1999:blog-3367600000263578810.post-42472040288065566482022-03-09T05:49:00.006-08:002022-11-19T09:10:54.388-08:00RICK HOPPER - CAMBRIDGE, AUTUMN 1967<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p><span style="font-family: georgia; font-size: 18px;"></span></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjyJApMOtqkZKpK819924eIxdryuxUTkA4DuxRr62oCQBfa7mQu4ku1i6g2KW_hoNZWxy12ugAmGWD_Hh3ou11beKBL2s2CpKGIFGVuKyxw_qGmO9aQIHT4napMBvbAisf-exc3cuMNQjZZ4fVtKWTxE9SiRCQ61ZYXJmrjis_5N_7n6ZcbrCJKLyHO=s1680" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" data-original-height="1680" data-original-width="1261" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjyJApMOtqkZKpK819924eIxdryuxUTkA4DuxRr62oCQBfa7mQu4ku1i6g2KW_hoNZWxy12ugAmGWD_Hh3ou11beKBL2s2CpKGIFGVuKyxw_qGmO9aQIHT4napMBvbAisf-exc3cuMNQjZZ4fVtKWTxE9SiRCQ61ZYXJmrjis_5N_7n6ZcbrCJKLyHO=s320" width="240" /></a></div><p></p></blockquote></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;"><span style="font-family: georgia; font-size: 18px;">In the course of researching my current book I have been looking through old copies of <i>Varsity</i>, the main student newspaper at Cambridge University, published every Saturday during termtime. For the eight issues of 1967's Christmas term, Rick Hopper - an undergraduate at Jesus College - contributed a pop column. </span> </p></blockquote></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;"><span style="font-family: georgia; font-size: 18px;">Rick had been a prefect at Eltham College, a private school in southeast London, where he was friends with Mick Jagger's brother Chris. Upon leaving they travelled around Europe together, and Rick's interests tilted towards the emerging counter-culture. He began at Cambridge in October 1966 and was closely involved with underground music there, singing with the Pineapple Truck, one of the university's two psychedelic bands, the other being 117. Sponsored to an extent by Mick Jagger, both groups spent the summer of 1967 in London, where Rick developed trenchant views on the pop scene that are reflected in his columns. </span> </p></blockquote></blockquote><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiz71lUAJuF-04j3kPdKZA5TuRov8DIhGGq7c5as_zEOoUM2lzY9COsfEeblM1dGHQFBKBL_N_xm81acNROVMS9gGRu40nIIIQF4pD4HReIwHdx53-Hn39XNV4Z-dFmadYWQAP8OTdvmLhufVQZ4Uy8oBiV85HRHqFr7sT1KgJoKsqTbppHm2rTFWlB=s1371" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1028" data-original-width="1371" height="384" src="https://blogger.googleusercontent.com/img/a/AVvXsEiz71lUAJuF-04j3kPdKZA5TuRov8DIhGGq7c5as_zEOoUM2lzY9COsfEeblM1dGHQFBKBL_N_xm81acNROVMS9gGRu40nIIIQF4pD4HReIwHdx53-Hn39XNV4Z-dFmadYWQAP8OTdvmLhufVQZ4Uy8oBiV85HRHqFr7sT1KgJoKsqTbppHm2rTFWlB=w511-h384" width="511" /></a></div><div class="separator" style="clear: both; text-align: center;">The Pineapple Truck in 1967 (Rick is second left)</div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;"><span style="font-family: georgia; font-size: 18px;">On February 23rd 1968 he compèred Under The Influence, a 'happening' in Cambridge at which Nick Drake made his formal live debut. He went on to work as an A&R man at Transatlantic Records, and perhaps his most lasting contribution to the musical world was his early championing of Kate Bush, whom he apparently introduced to his friend David Gilmour. </span><span style="font-family: georgia; font-size: 18px;">He subsequently managed Sandpiper Books in Brighton, and is no longer among us.</span></p></blockquote></blockquote><p> </p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;"><span style="font-family: georgia; font-size: 18px;">I hope you'll enjoy his columns, which provide a candid and immediate insight into a lot of music that is now regarded reverentially. (As ever, click to enlarge them.) And if any of you have a copy of the two tracks the Pineapple Truck recorded in 1967 (Blow Your Mind Away and Whiskey Man), I'd love to hear them...</span></p></blockquote></blockquote><p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhvmnZVFwJZqOdfcfi5Y02kH7ZkB9W8r2P0LrQgdpUhJp-7MMkajtZhzj7x5hAKFu0ZaS4nsNmLKlQ8KJIZieqx6OPBgJIsAHjyMMf7BNfmertR1M5iFiWRL-OOpVOnIRXXtzzLilZ1NP2zwugQbxr6yGIX532sDtuz0VFnxQs9CMLwDgiIySYWIriW=s3281" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2109" data-original-width="3281" height="325" src="https://blogger.googleusercontent.com/img/a/AVvXsEhvmnZVFwJZqOdfcfi5Y02kH7ZkB9W8r2P0LrQgdpUhJp-7MMkajtZhzj7x5hAKFu0ZaS4nsNmLKlQ8KJIZieqx6OPBgJIsAHjyMMf7BNfmertR1M5iFiWRL-OOpVOnIRXXtzzLilZ1NP2zwugQbxr6yGIX532sDtuz0VFnxQs9CMLwDgiIySYWIriW=w506-h325" width="506" /></a></div><div class="separator" style="clear: both; text-align: center;">October 14th 1967</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhq9terkBTRM1l0UHileY0ASEZqgUK44N6b_t1eXvdnlIXpVCiDubzW2hkYxAlOO12DsUu_BTPekWSf5q6eCmSOPU5HjJQJ3GoBsg41P5gGAlo4sFBt2hijJs_gVqxVcnWPwbXaWqlZgXe6WOb4aONzKRYFp3UPIeNq__iVA5KBaqEOs1W-4UbTRAIa=s3011" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3011" data-original-width="2297" height="567" src="https://blogger.googleusercontent.com/img/a/AVvXsEhq9terkBTRM1l0UHileY0ASEZqgUK44N6b_t1eXvdnlIXpVCiDubzW2hkYxAlOO12DsUu_BTPekWSf5q6eCmSOPU5HjJQJ3GoBsg41P5gGAlo4sFBt2hijJs_gVqxVcnWPwbXaWqlZgXe6WOb4aONzKRYFp3UPIeNq__iVA5KBaqEOs1W-4UbTRAIa=w433-h567" width="433" /></a></div><div class="separator" style="clear: both; text-align: center;">October 21st 1967</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSU2uNns7INYqurCVBbQTIz4HIiNowNCd3nyaP3bMq-CHD93SgdNZhS096ve6CbwUMKDc3s7fYFLovrmjNRVs-tKs2jWmqR2JqRqYks0xdWKAtmZUoYpNT2vyWYq_dlPFegN80ethulDcDhU_Dk90TRYbrl4cBCwA8xqPd5ISA5-HsFwHh3xV1LGHN=s2727" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2625" data-original-width="2727" height="423" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSU2uNns7INYqurCVBbQTIz4HIiNowNCd3nyaP3bMq-CHD93SgdNZhS096ve6CbwUMKDc3s7fYFLovrmjNRVs-tKs2jWmqR2JqRqYks0xdWKAtmZUoYpNT2vyWYq_dlPFegN80ethulDcDhU_Dk90TRYbrl4cBCwA8xqPd5ISA5-HsFwHh3xV1LGHN=w439-h423" width="439" /></a></div><div class="separator" style="clear: both; text-align: center;">October 28th 1967</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhSWOxwj02Y3FeN0u1BCjLKSvgZQU6R2EFmwv97HPMmlzFHLlUd9EJib4RVvtzdH8pBe3e7JFX9NxRj1dXwCDbsfqSlmGXO8GbwqHAoe_s_y3MGCLrFrSNg8W-83cmGRIKB5phOVIWapNUBWdcsNHph7jglifkP5qcaQiwKC0v-3YqL5ftFeOrS8uSE=s3166" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3166" data-original-width="1403" height="759" src="https://blogger.googleusercontent.com/img/a/AVvXsEhSWOxwj02Y3FeN0u1BCjLKSvgZQU6R2EFmwv97HPMmlzFHLlUd9EJib4RVvtzdH8pBe3e7JFX9NxRj1dXwCDbsfqSlmGXO8GbwqHAoe_s_y3MGCLrFrSNg8W-83cmGRIKB5phOVIWapNUBWdcsNHph7jglifkP5qcaQiwKC0v-3YqL5ftFeOrS8uSE=w337-h759" width="337" /></a></div><div class="separator" style="clear: both; text-align: center;">November 4th 1967</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEizrkX9s7ha_7FQRBWMRK-d8M3PJmo0CRo4-BN2y27LDY7OXCzjClQnyXqasGqhkaP6CJj7SVB3XeUP1yWoQiQRlaE_9RWi0crirQdNHV6MrYgOFJ9IlosI0wzmwbxW3r3byMCmvM_8VMMzZR8hjWEaDfuQq4yfoMCkS6zhCk-Eb2XwRs-tPBPbVzB9=s2235" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2235" data-original-width="2228" height="479" src="https://blogger.googleusercontent.com/img/a/AVvXsEizrkX9s7ha_7FQRBWMRK-d8M3PJmo0CRo4-BN2y27LDY7OXCzjClQnyXqasGqhkaP6CJj7SVB3XeUP1yWoQiQRlaE_9RWi0crirQdNHV6MrYgOFJ9IlosI0wzmwbxW3r3byMCmvM_8VMMzZR8hjWEaDfuQq4yfoMCkS6zhCk-Eb2XwRs-tPBPbVzB9=w478-h479" width="478" /></a></div><div class="separator" style="clear: both; text-align: center;">November 11th 1967</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhkyuKHbG_V_anZ4tDCgwHCl-pd29jTc1VT2klCld-UQKPU1tToYRyTwZQbyZtJQL0G9AfJwrN_u52ONhoA3QOStz3L6Ik-v7Cq2sdTth84tChbsQ3b5bPBpaoHF6qFVssGpOckU_1KEn88UOKWpNQv3Q-9Y059xXzdVGd0RMoXWftelLg4hNnJ9iBI=s3625" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3625" data-original-width="2423" height="700" src="https://blogger.googleusercontent.com/img/a/AVvXsEhkyuKHbG_V_anZ4tDCgwHCl-pd29jTc1VT2klCld-UQKPU1tToYRyTwZQbyZtJQL0G9AfJwrN_u52ONhoA3QOStz3L6Ik-v7Cq2sdTth84tChbsQ3b5bPBpaoHF6qFVssGpOckU_1KEn88UOKWpNQv3Q-9Y059xXzdVGd0RMoXWftelLg4hNnJ9iBI=w468-h700" width="468" /></a></div><div class="separator" style="clear: both; text-align: center;">November 18th 1967</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjMYQKv_wsXP6YK8I0cssPwxc9YZ6mc9NKWHJXjUgPpoT10OMWSE806z5Bx4OYtSm8WyFIPGVvJrPGsobisj86CVs91TaZrqPKWMeX7SBwb14gsHPax8N7Wn9A0TsZYRVB9nDps7C7D_53aMBRDy8JTzcTNUeuY46IT5cCgPGMX7dgmtT9OtcP8eCHe=s2621" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2621" data-original-width="1586" height="649" src="https://blogger.googleusercontent.com/img/a/AVvXsEjMYQKv_wsXP6YK8I0cssPwxc9YZ6mc9NKWHJXjUgPpoT10OMWSE806z5Bx4OYtSm8WyFIPGVvJrPGsobisj86CVs91TaZrqPKWMeX7SBwb14gsHPax8N7Wn9A0TsZYRVB9nDps7C7D_53aMBRDy8JTzcTNUeuY46IT5cCgPGMX7dgmtT9OtcP8eCHe=w393-h649" width="393" /></a></div><div class="separator" style="clear: both; text-align: center;">November 25th 1967</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiZmP5Nv71FZWOKbcsKBbBwGvR3BSQVGrgzEZJKuFTJ7lgxeHfMfG-dcyJk0aVi4IbD4aRobVTBPLZC9L8D1Fj5sjmfQEu9H6Rn2s_Mh6HbTDZI-lPH145W0fhDu0S7Sc-dhUB_EUsZWgtNIWIwdbnN6NXYBN4XPwJYyc6idCC5Xt5ORHoaFzGk72RV=s3490" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3490" data-original-width="2862" height="570" src="https://blogger.googleusercontent.com/img/a/AVvXsEiZmP5Nv71FZWOKbcsKBbBwGvR3BSQVGrgzEZJKuFTJ7lgxeHfMfG-dcyJk0aVi4IbD4aRobVTBPLZC9L8D1Fj5sjmfQEu9H6Rn2s_Mh6HbTDZI-lPH145W0fhDu0S7Sc-dhUB_EUsZWgtNIWIwdbnN6NXYBN4XPwJYyc6idCC5Xt5ORHoaFzGk72RV=w466-h570" width="466" /></a></div><div class="separator" style="clear: both; text-align: center;">December 2nd 1967</div></div></div>Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com4tag:blogger.com,1999:blog-3367600000263578810.post-85318966173216990992019-05-20T13:08:00.001-07:002019-05-22T13:47:53.730-07:00LEWIS BEACH MARVIN III AND MOONFIRE <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO08CfUdt8fhx41DXDsfRvPwWAoljsxcb9UuavgK10KiMmPCRENErGthQlQhXBJK1bYS47ta6j14aY7U9rvpP2G8om6GKD67M8e4NA2P5WKJVJ-dVjrhvmiSaRH0qJoHCNoGnzUhlXAEw/s1600/img032.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1047" data-original-width="1600" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO08CfUdt8fhx41DXDsfRvPwWAoljsxcb9UuavgK10KiMmPCRENErGthQlQhXBJK1bYS47ta6j14aY7U9rvpP2G8om6GKD67M8e4NA2P5WKJVJ-dVjrhvmiSaRH0qJoHCNoGnzUhlXAEw/s640/img032.jpg" width="640" /></a></div>
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Needless to say, 1960s California was full of weird and wonderful individuals. One such was the late Lewis Beach Marvin III.<br />
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Wealthy and well-connected, he was espousing hippie values (in particular vegetarianism) well ahead of the curve, and as of 1957 he occupied a peculiar temple / menagerie / home named Moonfire (the moon apparently being a symbol of death and fire of life) high up in Tuna Canyon, where he hosted numerous 'happenings' as of the mid-60s.<br />
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In 1966 he published a manifesto called <i>Moonfire: Ancient Life & Death Symbols</i>, which outlined his passionately held 'live and let live' philosophy. <br />
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He was featured in the <i>Mondo Hollywood</i> documentary (from which the image above is taken) the following year, and made a documentary himself in 1968, entitled <i>Moonfire</i>, which was released that June; he screened it inside a tent on Sunset Boulevard, with the Common People performing before and after.<br />
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He was a familiar figure at rock festivals, protest marches and other counter-cultural gatherings in the late 60s, typically holding a placard bearing slogans such as 'LOVE YOUR ANIMAL FRIENDS, DON'T EAT THEM' (that one was at Woodstock); he also handed a lamb to Jim Morrison backstage in Miami in 1969 (there's a well-known photo of Morrison holding it).<br />
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He was intermittently covered in the local media, but little is known of him as of the mid-70s.<br />
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Here's what I have found.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLgkfQ95PKQQsMA5RzeQhfqwuiY1DJpVcC2aXLYACO6FSo_jG6DU07aaiROBX1QwJaAudPJgXgAsKqfpBjGreUDIHIHwq-woPBBosoQVeQ_ogJwNu7uRrocQtxfZP8RzOOkXZBCB1Ir-w/s1600/The_Los_Angeles_Times_Sun__Sep_19__1965_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1216" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLgkfQ95PKQQsMA5RzeQhfqwuiY1DJpVcC2aXLYACO6FSo_jG6DU07aaiROBX1QwJaAudPJgXgAsKqfpBjGreUDIHIHwq-woPBBosoQVeQ_ogJwNu7uRrocQtxfZP8RzOOkXZBCB1Ir-w/s640/The_Los_Angeles_Times_Sun__Sep_19__1965_.jpg" width="486" /></a></div>
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<i>Los Angeles Times</i>, Sunday September 19th 1965</div>
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<i>Los Angeles Times</i>, Sunday June 12th 1966</div>
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<i>Mondo Hollywood</i> review,<i> Los Angeles Times</i>, Sunday October 1st 1967</div>
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<i>Los Angeles Free Press</i>, June 14th 1968</div>
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<i>Los Angeles Free Press</i>, June 14th 1968</div>
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<i>Los Angeles Free Press</i>, June 21st 1968</div>
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<i>World Countdown</i>, July 1968</div>
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<i>The Los Angeles Times</i>, Thursday June 27th 1968</div>
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<i>Los Angeles Free Press</i>, July 12th 1968</div>
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The <i>Province</i> (Montreal), Monday October 7th 1968</div>
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The <i>Miami News</i>, Saturday October 4th 1969</div>
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The <i>Independent</i>, Friday July 23rd 1971</div>
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<i>Los Angeles Times</i>, Sunday June 24th 1973 (i)</div>
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<i>Los Angeles Times</i>, Sunday June 24th 1973 (ii)</div>
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<i>Los Angeles Times</i>, Sunday October 28th 1973 </div>
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The <i>Delta Democrat Times</i>, Thursday November 1st 1973</div>
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<i>Los Angeles Times</i>, Friday November 9th 1973 </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Akm0z_7ZjHzcPGLoBi9ylSml7zFfI9t-lxixk48GURw4giy-5VXvYOILntZxR5c8lYyqDBPDlMqFAPQRGK2bT52_Nr0XJ5DX-Odsv1uk-aDDr4pLOzuU2ToKG7q6vbzIhZ9jzD8rMtc/s1600/The_Los_Angeles_Times_Mon__Jan_24__1977_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1493" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Akm0z_7ZjHzcPGLoBi9ylSml7zFfI9t-lxixk48GURw4giy-5VXvYOILntZxR5c8lYyqDBPDlMqFAPQRGK2bT52_Nr0XJ5DX-Odsv1uk-aDDr4pLOzuU2ToKG7q6vbzIhZ9jzD8rMtc/s640/The_Los_Angeles_Times_Mon__Jan_24__1977_.jpg" width="596" /></a></div>
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<i>Los Angeles Times</i>, Monday January 24th 1977</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5w_hUvVg1dxIIge7b3x0vkLI-wBMR4hhcetqO4rrRRZtDcS-57vgS1yIVsh3NP_drMwfyZ5dc3etjneswBL6HY4ohPS5iMwy4CMduGH06QAQyShWEsN9n4bwYE1-DyWrGLVuRo_FAwPc/s1600/Los+Angeles+Times%252C+Thursday+October+15th+1992.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1218" data-original-width="1600" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5w_hUvVg1dxIIge7b3x0vkLI-wBMR4hhcetqO4rrRRZtDcS-57vgS1yIVsh3NP_drMwfyZ5dc3etjneswBL6HY4ohPS5iMwy4CMduGH06QAQyShWEsN9n4bwYE1-DyWrGLVuRo_FAwPc/s640/Los+Angeles+Times%252C+Thursday+October+15th+1992.jpg" width="640" /></a></div>
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<i>Los Angeles Times</i>, Thursday October 15th 1992</div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com267tag:blogger.com,1999:blog-3367600000263578810.post-56877450520831763022019-03-08T00:54:00.000-08:002019-03-08T01:01:45.018-08:00GALACTIC RAMBLE - revised and expanded edition <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL4jqWU6mR9kQSR7-S26LbGyDbCJDr6ZsCyTcyq1GvHixHmm2_t_KMnCvdCoPrHiE6XHBI1N54poX6Gw7ckqFVjRX7UnZF97sNPZfCxMREJ2AmW4ko_xUXeqqfj_Y4QiLpznRrVss0oXA/s1600/GRimage.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1209" data-original-width="998" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL4jqWU6mR9kQSR7-S26LbGyDbCJDr6ZsCyTcyq1GvHixHmm2_t_KMnCvdCoPrHiE6XHBI1N54poX6Gw7ckqFVjRX7UnZF97sNPZfCxMREJ2AmW4ko_xUXeqqfj_Y4QiLpznRrVss0oXA/s640/GRimage.png" width="528" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Ten years after the first edition </span><span style="font-family: "georgia" , "times new roman" , serif;">of </span><i style="font-family: georgia, "times new roman", serif;">Galactic Ramble </i><span style="font-family: "georgia" , "times new roman" , serif;">came and went, I'm delighted to say that a revised and hugely expanded second edition is now exclusively available <a href="http://www.galacticramble.co.uk/" style="color: red; font-weight: bold;" target="_blank">HERE</a> </span><span style="font-family: "georgia" , "times new roman" , serif;">as a</span><span style="font-family: "georgia" , "times new roman" , serif;"> limited hardback costing</span><span style="font-family: georgia, "times new roman", serif;"> £100 (plus p&p).</span><span style="font-family: georgia, "times new roman", serif;"> </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">It </span><span style="font-family: "georgia" , "times new roman" , serif;">completely supersedes the first edition, being</span><span style="font-family: "georgia" , "times new roman" , serif;"> more than twice as long (well over a million words) and containing a massive amount of new information and imagery. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">They</span><span style="font-family: "georgia" , "times new roman" , serif;"> will not not be reprinted; when they're gone, they're gone!</span></div>
Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com333tag:blogger.com,1999:blog-3367600000263578810.post-70922633002376813302018-12-11T08:52:00.002-08:002018-12-11T08:52:44.445-08:00THE MOVE by Michael English<div dir="ltr" style="text-align: left;" trbidi="on">
Between December 1968 and May 1969, the British teen monthly <i>Rave</i> published a fantasy comic strip featuring the Move, by the great Michael English (half of the Hapshash & The Coloured Coat design duo). I'm not sure if it's been seen since, so here it is in full.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRpOGOfJqj9966rTba7akHVRTL1bmeZKgFpRq4Rkj6c32JnBcH-jHlhyFFEpR3RHKsMd3DPIu54mLFnRmbLPa1fKydY8CSpwpAEXc59FmBpUxeaOhvN1cNxaQh7klg1ecs1FYYnSDZN8k/s1600/Rave+1+Dec+68+%2528Michael+English%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1210" data-original-width="898" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRpOGOfJqj9966rTba7akHVRTL1bmeZKgFpRq4Rkj6c32JnBcH-jHlhyFFEpR3RHKsMd3DPIu54mLFnRmbLPa1fKydY8CSpwpAEXc59FmBpUxeaOhvN1cNxaQh7klg1ecs1FYYnSDZN8k/s640/Rave+1+Dec+68+%2528Michael+English%2529.jpg" width="474" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEsAgYOcTsraR1izh7ZftdSDXoaFUnJoZcjx5MxjR-BbT4KBGDPWUsW5AaKK7wI4abpXmgjySnvdEF8UH2QJ53xbPiKPq-9kMD-VNwYFMGj7lI1TqIv06J6d69nc9gn6I_5ELSk4gubVs/s1600/Rave+2+Jan+69+%2528Michael+English%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1207" data-original-width="908" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEsAgYOcTsraR1izh7ZftdSDXoaFUnJoZcjx5MxjR-BbT4KBGDPWUsW5AaKK7wI4abpXmgjySnvdEF8UH2QJ53xbPiKPq-9kMD-VNwYFMGj7lI1TqIv06J6d69nc9gn6I_5ELSk4gubVs/s640/Rave+2+Jan+69+%2528Michael+English%2529.jpg" width="480" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigOlicFQNBVJ_EA2Ke6dWX9y5w3Ba0-wIYVPfCl6-LDb0aMHOxbKebFnZhTKshKf6WnEKcyDEecIY3oPrYNIdcNsbi_DVhvB9W0KyhMa1MiznHk5wYw3MqpWUC5nxIok5iflExIaXZceE/s1600/Rave+3+Feb+69+%2528Michael+English%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1179" data-original-width="870" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigOlicFQNBVJ_EA2Ke6dWX9y5w3Ba0-wIYVPfCl6-LDb0aMHOxbKebFnZhTKshKf6WnEKcyDEecIY3oPrYNIdcNsbi_DVhvB9W0KyhMa1MiznHk5wYw3MqpWUC5nxIok5iflExIaXZceE/s640/Rave+3+Feb+69+%2528Michael+English%2529.jpg" width="472" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK4215lcrLGLkp27wiYGABd5CTSFl15-CiTrsIbg5hyphenhyphenmgaMX1cGfkEu_k8aHcBToD2yIPLwUf8o1xFBR9iv4jrZ80OXdTM8fld57IBdFrVwKAOi72ql2pRnBV2lEuBXZe2NLioxYaLQGg/s1600/Rave+4+Mar+69+%2528Michael+English%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1197" data-original-width="872" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK4215lcrLGLkp27wiYGABd5CTSFl15-CiTrsIbg5hyphenhyphenmgaMX1cGfkEu_k8aHcBToD2yIPLwUf8o1xFBR9iv4jrZ80OXdTM8fld57IBdFrVwKAOi72ql2pRnBV2lEuBXZe2NLioxYaLQGg/s640/Rave+4+Mar+69+%2528Michael+English%2529.jpg" width="465" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXv7IvaJL4MZtxuO49in1swi7rhdDxIE1jno6eZkYO67HpTUn48_B9cwYx7L6hEnP90VmcW1qMox9um5di0yKdUCM0_Hynq_w3aDbvJRTGcNzaISMrMWe5tq4IpIPi3KW3vTyXhH9rKAA/s1600/Rave+5+April+69+%2528Michael+English%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1144" data-original-width="887" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXv7IvaJL4MZtxuO49in1swi7rhdDxIE1jno6eZkYO67HpTUn48_B9cwYx7L6hEnP90VmcW1qMox9um5di0yKdUCM0_Hynq_w3aDbvJRTGcNzaISMrMWe5tq4IpIPi3KW3vTyXhH9rKAA/s640/Rave+5+April+69+%2528Michael+English%2529.jpg" width="496" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqUSXc4W90IGRAvO_rGev-CQ_y686ggGsuShWx_kUcwoIshy0wX0CQTmU546OEugA0N1tKoD7wfc27FWjdAiq7U9mIpb0QdhB-V7fIcbkPWpJRGid0CsoC6K-4v1A8t4i2rqo7h4E-8Y/s1600/Rave+6+May+69+%2528Michael+English%2529.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1204" data-original-width="897" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqUSXc4W90IGRAvO_rGev-CQ_y686ggGsuShWx_kUcwoIshy0wX0CQTmU546OEugA0N1tKoD7wfc27FWjdAiq7U9mIpb0QdhB-V7fIcbkPWpJRGid0CsoC6K-4v1A8t4i2rqo7h4E-8Y/s640/Rave+6+May+69+%2528Michael+English%2529.png" width="476" /></a></div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com20tag:blogger.com,1999:blog-3367600000263578810.post-75973783300461251702018-05-08T06:50:00.003-07:002018-05-08T11:58:15.206-07:00XXXRECORDS and a spot of Confusion<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6nL1dHqDpTVRsvNJjb77-LMJDUvlDzVhQYN55JQd-SRsMpXSHV0umvHFNDxoWroB7HCdJBCr4olin4HbxFfu5p34FP7K0jSqo2AsKzrMA9esNHi4BQcFzC-KmBH5Oy3pdYx8r8mUlusc/s1600/260632671535.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="298" data-original-width="400" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6nL1dHqDpTVRsvNJjb77-LMJDUvlDzVhQYN55JQd-SRsMpXSHV0umvHFNDxoWroB7HCdJBCr4olin4HbxFfu5p34FP7K0jSqo2AsKzrMA9esNHi4BQcFzC-KmBH5Oy3pdYx8r8mUlusc/s640/260632671535.jpg" width="640" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Having devised their instantly recognisable sound at rehearsals, Eric Clapton, Jack Bruce and Ginger Baker made their live debut as Cream on July 29th 1966, and gigged prolifically thereafter. One early performance was at the London club Klooks Kleek on November 15th 1966 (shortly after the release of their debut 45, and shortly before the release of their debut album). <o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Someone recorded the show, which consisted of Lawdy Mama, Sleepy Time Time, Crossroads, Stepping Out, Sweet Wine, Meet Me In The Bottom and N.S.U.. Sometime thereafter, the recording was pressed onto vinyl, with no label or artwork, but the matrix codes ‘CJG LP 1A’ and ‘CJG LP 1B’ stamped into the respective run-outs. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">It can be seen on Discogs here:<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.discogs.com/Cream-Cream-Live-At-Klooks-Kleek/release/9057397">https://www.discogs.com/Cream-Cream-Live-At-Klooks-Kleek/release/9057397</a><o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Though Discogs has disallowed sales of bootlegs, copies of it occasionally surface on eBay; one fetched 50 GBP there on February 13th 2018, and can be seen here:<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.popsike.com/php/detaildatar.php?itemnr=312061541415">https://www.popsike.com/php/detaildatar.php?itemnr=312061541415</a><o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">On April 9th 2018, the well-known UK record dealer Graham Cross - aka xxxrecords - sold an intriguing album on eBay, which fetched 576 GBP. It was, he wrote, the work of a band called ‘Confusion’, and can be seen here:<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.popsike.com/php/detaildatar.php?itemnr=263593811689">https://www.popsike.com/php/detaildatar.php?itemnr=263593811689<o:p></o:p></a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRj-XyLyPFMH4XdGO1_EhoOky97H0kKLEmasvIbbT8RaUPcNJ_KPuFSKckKGYTNrlGpv-Nmdf0DGlqO0gkQ30smDfg93fVqlTYmEtrG1BqqKGdFBs6YQOL2geZB2ZF3Xt88BUGt5UDncI/s1600/s-l1600-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="930" data-original-width="1138" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRj-XyLyPFMH4XdGO1_EhoOky97H0kKLEmasvIbbT8RaUPcNJ_KPuFSKckKGYTNrlGpv-Nmdf0DGlqO0gkQ30smDfg93fVqlTYmEtrG1BqqKGdFBs6YQOL2geZB2ZF3Xt88BUGt5UDncI/s640/s-l1600-1.jpg" width="640" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">No band of that name was previously known to have been operating in the UK at the time. As if that weren’t enticing enough for collectors, he added that the disc was an ‘UNKNOWN PRIVATE PRESSING’ containing ‘AWESOME PSYCH BLUES’, and was ‘ONE OF THE RAREST LPs ON THE VERY SOUGHT AFTER DEROY LABEL’, and ‘A ROUGH LIVE RECORDING WHICH CLEARLY THE BAND MUST HAVE GOT MADE’. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Cross confidently dated his discovery to 1966, and suggested that it had been pressed by Island Records, as well as Deroy. The only hard clue as to manufacture was that ‘MACHINE STAMPED ON EACH SIDE IS 'CJG 1 LP A' & CJG 1 LP B'.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Knowing of the Cream bootleg, you might assume that he was mistaken, and had somehow failed to identify one of the most famous bands in rock history as the performers in question – but you would be wrong. ‘CONFUSINGLY (THOUGH HE OBVIOUSLY ISNT PLAYING ON THIS LP!) THERE ARE REFERENCES MADE ON THE LP TO ERIC CLAPTON BY THE BAND, AND THERE ARE 2 OR 3 CREAM COVERS, AS WELL AS A FEW OTHER TRACKS I CANNOT IDENTIFY!!!!’ continued his listing.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">For the time being, the identity of Confusion must remain a mystery; only one other copy of their album is known to exist. It was sold on eBay in July 2012 for 636 GBP (also by Graham Cross) and can be seen here:<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.popsike.com/php/detaildatar.php?itemnr=260632671535">https://www.popsike.com/php/detaildatar.php?itemnr=260632671535</a><o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Were you a member of Confusion? Do you know someone who was? Do you have a copy of this lost recording by them? If so, please drop me a line!</span><span style="font-family: "calibri" , sans-serif;"><o:p></o:p></span></div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com8tag:blogger.com,1999:blog-3367600000263578810.post-53927272346953215362018-03-01T05:16:00.004-08:002022-03-12T02:38:13.662-08:00THE VELVET UNDERGROUND & NICO: the early US reviews <div dir="ltr" style="text-align: left;" trbidi="on">
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On Thursday, December 1st 1966, the <i>Philadelphia Inquirer</i>'s New York correspondent, Leonard Lyons, reported that 'Andy Warhol just made his first Velvet Underground recording for MGM' (adding the odd statement 'He used his banana theme for the label's decor'). In fact, most of the album had been recorded that April and May, with Sunday Morning being added in November.<br />
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The widely accepted / repeated release date for the album is March 12th 1967, but it's obviously wrong, not least because it was a Sunday. In fact, the LP was evidently released in January; on the 14th of that month, the weekly trade magazine <i>Cash Box</i> covered MGM's 'gala convention and product presentation' in Acapulco, where 'distributors were treated to tropical sun and swimming, and were also shown the new line of album products for the first quarter of 1967'. According to the piece, 'the second album from the Mothers Of Invention and a new Andy Warhol / Velvet Underground & Nico LP were received well'.<br />
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The album was included in the 'New Release Inventory Checklist' in Billboard of January 28th (on sale the previous week), and advertised in Cash Box the same day. It was advertised elsewhere with the dumb tagline 'SO FAR "UNDERGROUND," YOU GET THE BENDS!' I think it's safe to assume that the band didn't have any input there.<br />
<br />The first review I've seen appeared in the <i>Tampa Bay Times</i> (of all places) on Monday, February 27th. Its unrigorous author was named Chick Ober:<br />
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Next up was the <i>Honolulu Advertiser</i>, on Wednesday, March 1st. Its author, Wayne Harada, was one of the most consistently perceptive and open-minded pop critics of the time:</div>
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Also in Hawaii was this skimpy piece in the <i>Honoloulu Star-Bulletin</i> of Saturday, March 4th, by Dave Donelly (who covered the first West Coast Pop Art Experimental Band LP the same day):</div>
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On March 4th, <i>Cash Box</i> had this to say; as ever, their remarks were aimed at dealers and not consumers:</div>
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The same applies to <i>Billboard</i>, whose 'review' also appeared on March 4th:</div>
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It was back to Florida for this snide item, penned by the less-than hip Vance Johnston, which ran in the the <i>Tampa Tribune</i> of Sunday, March 5th: </div>
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On Friday, 10th March, this snippet appeared in the <i>Oil City Derrick</i> in Pennsylvania. It was part of a syndicated column by Jeanne Harrison entitled 'Platter Patter' (so might have appeared elsewhere earlier), and lazily lumps the LP together with new releases by Ella Fitzgerald and Johnny Mathis:<br />
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A couple of weeks later, on Saturday 18th, and rather closer to the band's stamping ground, came this vapid dismissal by Don Lass of New Jersey's <i>Asbury Park Evening Press</i>. As well as insulting their music, he confesses to having peeled the banana, like 99% of people who acquired the LP at the time:<br />
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The following day came an anonymous pundit's glib thoughts in the <i>Pensacola News-Journal</i>, back in Florida:<br />
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The April issue of the San Francisco underground rag <i>Electric Frog</i> offered this unsigned nonsense:<br />
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April 13th brought the opinion of New York's influential <i>Village Voice</i>, which was surprisingly equivocal, and presumably upset the band:<br />
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In the May 1967 issue of <i>High Fidelity</i> (on sale in April), Morgan Ames was typically conservative and reactionary:<br />
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The same month, an unnamed writer in the <i>American Record Guide</i> (which, I believe, was sent out to public libraries and other institutions) was much more thoughtful, delivering the most sensitive review the album received at the time:<br />
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The June 1967 issue of <i>Jazz</i> magazine (later <i>Jazz & Pop</i>) ran this:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfeCQEy7GpNim0bcd6o8nUef1t5E5FmPhXnRAnOPFFoBXz46BYoX8yEyjpyIw9AVrbN-MGVz1LK5OhIY__s5BmK6pk0b2gL9s_fkM3rrodwQdgMJeDKPX_Z9vMCqpiTdGdxT2ZuPtawMI/s1600/Jazz%252C+June+1967.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1171" data-original-width="1528" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfeCQEy7GpNim0bcd6o8nUef1t5E5FmPhXnRAnOPFFoBXz46BYoX8yEyjpyIw9AVrbN-MGVz1LK5OhIY__s5BmK6pk0b2gL9s_fkM3rrodwQdgMJeDKPX_Z9vMCqpiTdGdxT2ZuPtawMI/s400/Jazz%252C+June+1967.jpg" width="400" /></a></div>
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Timothy Jacobs had this to say in the July edition of the Boston underground magazine <i>Vibrations</i>:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK55pB4Bk61G3GchBslpBGKlGGAftJ9LkEAN5EUQAPeVGZyTh1tMM-xGgTAjzAUyfHbmcuYyxBqR6oioWKXjOuRB32_INRbAlJCHCtQr6GIIHQAsbZ9R4CCZNFl0O16IxUKuGjIUMhRPE/s1600/Vibrations%252C+July+1967.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1376" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK55pB4Bk61G3GchBslpBGKlGGAftJ9LkEAN5EUQAPeVGZyTh1tMM-xGgTAjzAUyfHbmcuYyxBqR6oioWKXjOuRB32_INRbAlJCHCtQr6GIIHQAsbZ9R4CCZNFl0O16IxUKuGjIUMhRPE/s640/Vibrations%252C+July+1967.jpg" width="550" /></a></div>
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And then, on Saturday, July 15th, Fred Hulett of the <i>Courier-Post</i> in Camden, New Jersey, weighed in. His remarks typify the response of many critics at the time; already suspicious of Andy Warhol, they were only too happy to assume the VU was nothing more than his latest hype:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrA1nHyECVlxhMXLHePP9NXEaaCJIjUDCbjxILdVfuPgr50FiTs-cXmgEf9dhWk27i7n05iS3ItrH7FALWbU1443FdnJPBjrThKUHsX0Da8gpqXKvF3H6OvzC15GgkuHBCIyD127Z0_6Y/s1600/Courier_Post_Sat__Jul_15__1967_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="968" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrA1nHyECVlxhMXLHePP9NXEaaCJIjUDCbjxILdVfuPgr50FiTs-cXmgEf9dhWk27i7n05iS3ItrH7FALWbU1443FdnJPBjrThKUHsX0Da8gpqXKvF3H6OvzC15GgkuHBCIyD127Z0_6Y/s400/Courier_Post_Sat__Jul_15__1967_.jpg" width="241" /></a></div>
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The September issue of the superb teeny magazine <i>Hullabaloo</i> (on sale two months earlier, as per its schedule) offered this assessment:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYb-PRHaH5d89FDniTaY_s4YwOvHzlrzzCfnXLYgdxjkdJShAgJkWfVz3maMrPdpzmnY33EaE3aOKV-t-zFEwB-0aPOKBNFZRUPlWoZ-UNnURx62U37jB7T6wesaeJuOeWemk_VRh4I4A/s1600/Hullabaloo%252C+Sept+67.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="928" data-original-width="1600" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYb-PRHaH5d89FDniTaY_s4YwOvHzlrzzCfnXLYgdxjkdJShAgJkWfVz3maMrPdpzmnY33EaE3aOKV-t-zFEwB-0aPOKBNFZRUPlWoZ-UNnURx62U37jB7T6wesaeJuOeWemk_VRh4I4A/s320/Hullabaloo%252C+Sept+67.jpg" width="320" /></a></div>
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On September 28th, Bob Watkins covered the LP in the <i>WSC Acorn</i> (published out of Worcester State College in Massachusetts):<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUGm7x5iK4D_kAZO-qr1dpw4ypP84l8hZkeHm7yINJTAjnohvz087-banWWHALhjpxvDV-hRLziB9LU7uSDm8jAMuuWOKJSOqtHs6V8rPqMkJVZAR_Zq5Ls6FXxjdhQlD6wfA3m8e-OM/s1600/WSC+Acorn%252C+Sept+28th+67.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUGm7x5iK4D_kAZO-qr1dpw4ypP84l8hZkeHm7yINJTAjnohvz087-banWWHALhjpxvDV-hRLziB9LU7uSDm8jAMuuWOKJSOqtHs6V8rPqMkJVZAR_Zq5Ls6FXxjdhQlD6wfA3m8e-OM/s1600/WSC+Acorn%252C+Sept+28th+67.jpg" /></a></div>
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Finally, in the October issue of <i>Crawdaddy! </i>(by then being published out of New York), Sandy Pearlman reflected thus:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb8cmMoVlfQ_GpO96rTm18UK8y1PIQ24t4_ndEYnc_CGAyfHd7PNie9jDtlNB2ufUQ6ob6ndbeN1Ntbpb6J3BHItiWdnUV0Pl4_eANG_Rk3cToBM_dOxxQvi5yb8z9nPTKNhzwZdtAx0A/s1600/Crawdaddy+Oct+67.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="371" data-original-width="1600" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb8cmMoVlfQ_GpO96rTm18UK8y1PIQ24t4_ndEYnc_CGAyfHd7PNie9jDtlNB2ufUQ6ob6ndbeN1Ntbpb6J3BHItiWdnUV0Pl4_eANG_Rk3cToBM_dOxxQvi5yb8z9nPTKNhzwZdtAx0A/s640/Crawdaddy+Oct+67.jpg" width="640" /></a></div>
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I hope this post will debunk the ubiquitous myth that the album was barely reviewed at the time of release. If you have other early US reviews, please send them along, and I'll gladly add them.</div>
Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com9tag:blogger.com,1999:blog-3367600000263578810.post-7647009675217130402018-02-13T02:02:00.003-08:002018-02-13T02:12:21.470-08:00DIMAGRAPHY & THE VELVET UNDERGROUND <div dir="ltr" style="text-align: left;" trbidi="on">
Dmitry Demchenko is a familiar name to many record collectors and readers of this blog, because he has an unequalled ability to find copies of rare albums that come with rare promo stickers, which he then sells on eBay for enviable sums.<br />
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One of the most sought-after albums in the world is the original US white label promo of The Velvet Underground & Nico.<br />
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Click<span style="color: red;"><b> <a href="https://www.ebay.com/itm/VG-VG-The-Velvet-Underground-amp-Nico-White-Label-Promo-Mono-Andy-Warhol-Psych-LP-/263399723861?hash=item3d53d8d355%3Ag%3Ap-AAAOSwbF1aPISJ&nma=true&si=Nc8LDeO1JEB%252BIZ%252BvYIp3PnHFG2E%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557" target="_blank"><span style="color: red;">HERE</span></a></b></span> to see a copy that was sold on eBay in December 2017 for $750, with the name 'CARLSON' written on the label (thereby diminishing its value and collector appeal).<br />
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Here are some images of that copy:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJFKxA5nhSfVaoSRVq4OMfy5eM2YeMvXfHtb99QD3sWhGx26TT4-UuRL5_Twip1vn6cpvjOjHWyNjxKkVQR9aj7luHU2xS4jeWhZKi0lVXlt433ZkWcXP_BIBU_MqRUrDsCK0oSQa3Ojw/s1600/s-l1600-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="996" data-original-width="1033" height="617" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJFKxA5nhSfVaoSRVq4OMfy5eM2YeMvXfHtb99QD3sWhGx26TT4-UuRL5_Twip1vn6cpvjOjHWyNjxKkVQR9aj7luHU2xS4jeWhZKi0lVXlt433ZkWcXP_BIBU_MqRUrDsCK0oSQa3Ojw/s640/s-l1600-2.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsTW8_xflOXvImUmtpJ03bLLrOO-JC7g-cLeA-u7bbWOZpFCfg2Wvxuq8noj9o-4qFTxYPCCYbHp56OmWo4-TBPlHtz1PS-6TSl_7LEq1G_0nSipR7GmRKInztFZRZn7jvAiwNFWFj9nY/s1600/s-l1600-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="996" data-original-width="1057" height="602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsTW8_xflOXvImUmtpJ03bLLrOO-JC7g-cLeA-u7bbWOZpFCfg2Wvxuq8noj9o-4qFTxYPCCYbHp56OmWo4-TBPlHtz1PS-6TSl_7LEq1G_0nSipR7GmRKInztFZRZn7jvAiwNFWFj9nY/s640/s-l1600-3.jpg" width="640" /></a></div>
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And click <b style="color: red;"><a href="https://www.ebay.com/itm/THE-VELVET-UNDERGROUND-amp-NICO-US-ORIG-67-VERVE-MONO-DJ-PROMO-COPY-WHITE-LABEL-/322997560094?hash=item4b3427a31e%3Ag%3AVTUAAOSwKXdaWvWX&nma=true&si=CA2N0viFykP3e1zPv4B82wAi5UE%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557" target="_blank"><span style="color: red;">HERE</span></a><span style="color: red;"> </span></b>to see a copy Dmitry sold on eBay a month later for just over $2000, with an 'ORIGINAL RECTANGULAR "D.J. SAMPLES PROMOTIONAL COPIES" WHITE STICKER' on the label (thereby enhancing its value and collector appeal).<br />
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Here are some images of Dmitry's copy:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1UzOF1vKC166wyXV6_4uYqhD9kgBH7_Gn17zKbPUu9DQE1ru9gBVsS98Pa8SNDMj52oGhHh8YbZkmvg5KYHM6z_V6tMcvOYKe-qa0TLiNeXywQWUsafwFlD7b7XlAnP0fjtHrhr6fZfg/s1600/s-l1600-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1UzOF1vKC166wyXV6_4uYqhD9kgBH7_Gn17zKbPUu9DQE1ru9gBVsS98Pa8SNDMj52oGhHh8YbZkmvg5KYHM6z_V6tMcvOYKe-qa0TLiNeXywQWUsafwFlD7b7XlAnP0fjtHrhr6fZfg/s640/s-l1600-4.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1kVZA8wfGXOfR9lgoi49dSBLWlyhWCCKjq21msqHECzWKATTvJyzPIGs92OW7-rlizH-ExOgpNQcaycvy14P-S3hDTggWwJYzF61YNFs53i0xPZuUrbJbOvYUEy6Tqbvia86m2LLAaSs/s1600/s-l1600-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1516" data-original-width="1600" height="606" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1kVZA8wfGXOfR9lgoi49dSBLWlyhWCCKjq21msqHECzWKATTvJyzPIGs92OW7-rlizH-ExOgpNQcaycvy14P-S3hDTggWwJYzF61YNFs53i0xPZuUrbJbOvYUEy6Tqbvia86m2LLAaSs/s640/s-l1600-5.jpg" width="640" /></a></div>
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Both auctions clearly show an original copy - indeed, the labels in each are identical down to the same microscopic details. <br />
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As is so often the case with items sold by 'Dimagraphy', serious collectors worldwide are curious about the sticker in his listing.<br />
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Has anyone seen another WLP of this album with that sticker on the label?<br />
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The only other example I can find online was sold on eBay in April 2017... by lucky old Dmitry! You can see that one <b><a href="http://www.rootsvinylguide.com/ebay_items/velvet-underground-nico-monstrously-rare-us-orig-67-verve-mono-pre-release" target="_blank"><span style="color: red;">HERE</span></a></b>.<br />
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Looking forward to your feedback!</div>
Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com7tag:blogger.com,1999:blog-3367600000263578810.post-5757978920870757732017-04-21T07:16:00.003-07:002019-03-12T05:52:51.168-07:00ESSRA MOHAWK: 'a lot of different kinds of music' <div dir="ltr" style="text-align: left;" trbidi="on">
<i>Primordial Lovers</i> is an intense, impassioned, personal and otherworldly record, about which little is known, so thought I'd post some odds and ends here.<br />
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Sandra Elayne Hurvitz was born in Philadelphia on April 23rd 1948. Her recording career began with a pop 45 (The Boy With The Way / The Memory Of Your Voice), released on Liberty under the name Jamie Carter in August 1965.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0EFDYuRHGHYl8Qi8FicOgWQQCtrKRFaa8fTExaPrgYxUS2ylsLEdtKmcd5F_MsZznvi88wHB8ZbATmtf4D07JtjPAVEmJucwk4xJipkH_VytdREWetfFMq-tbF0MXgEkxprXzFTisvTE/s1600/Screen+Shot+2017-04-21+at+15.22.54.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0EFDYuRHGHYl8Qi8FicOgWQQCtrKRFaa8fTExaPrgYxUS2ylsLEdtKmcd5F_MsZznvi88wHB8ZbATmtf4D07JtjPAVEmJucwk4xJipkH_VytdREWetfFMq-tbF0MXgEkxprXzFTisvTE/s640/Screen+Shot+2017-04-21+at+15.22.54.png" width="627" /></a></div>
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It sold poorly, and by 1967 she was in New York, where she ran into Frank Zappa on Bleecker Street, across the road from the Garrick Theatre in Greenwich Village, where the Mothers were playing their famed residency. They had a romance, and she joined his band under a nickname he gave her, 'Uncle Meat'.<br />
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One audience member at the Garrick was Laura Nyro, whose first album had appeared at the start of the year, and to whom Essra would frequently be compared. "She used to come listen to me play at the Garrick long before I ever heard of her, or heard her," contends Essra. "She got my number and called me, introducing herself. She was influenced by me. Not the other way around. She could only imitate a small part of me, as I am much more musically expansive than she was." </div>
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Essra's first album was made the same year for Zappa's production company, Bizarre. Recorded under his auspices, but in fact (rather basically) produced by Ian Underwood, it finally appeared on Verve under the name Sandy Hurvitz, in December 1968. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-7vX5kB6VXjwcsB_3iv3y6jEeL5lB0J0OLU4Z56F3OT3ZFvLQ_mq5cgxEc6pkaXpUGWfqwxa_FX1PLb1VI_BeuV8U1Ighgg42gG070cwSWvffMRykdy2YKHOqJtd1APYM0KJquxeTzyI/s1600/IMG_2862.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="634" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-7vX5kB6VXjwcsB_3iv3y6jEeL5lB0J0OLU4Z56F3OT3ZFvLQ_mq5cgxEc6pkaXpUGWfqwxa_FX1PLb1VI_BeuV8U1Ighgg42gG070cwSWvffMRykdy2YKHOqJtd1APYM0KJquxeTzyI/s640/IMG_2862.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh61YsMNp3LI6MF1Fm4xFXQlHmTjnT7e2418ygzuA4bK-QbT-LQOlxIFDe6-4QYjwYlJIlHVxPENnIDr1-iyhYeSIz4ZT1yURTcVaSo8sFMsqBDn_fGc2maQO8PV7jOcphmdBpZ-1kNGT4/s1600/IMG_2863.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh61YsMNp3LI6MF1Fm4xFXQlHmTjnT7e2418ygzuA4bK-QbT-LQOlxIFDe6-4QYjwYlJIlHVxPENnIDr1-iyhYeSIz4ZT1yURTcVaSo8sFMsqBDn_fGc2maQO8PV7jOcphmdBpZ-1kNGT4/s640/IMG_2863.jpg" width="640" /></a></div>
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<i>Sandy's Album Is Here At Last</i> is quirky and openly emotional, with uninhibited vocals and piano-led songs that change tempo and mood frequently. It appeared in shops without her being informed. "It was released unfinished and without my ok," explains Essra. "I made up the title, not because the label took so long to put it out (they didn't take long at all... In fact I wish they had taken longer, like never!), but because I was finally making my first album. I had no idea at the time how bad it would go." It was barely reviewed, and sold next to nothing. She didn't record for Verve again.<br />
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Around this time, the vice-president of Warner Brothers Records, Mo Ostin, saw her performing at Steve Paul's Scene in Manhattan, and signed her up to their Reprise label. Her second LP was recorded and mixed in Los Angeles that year. Almost all the sessions took place at Elektra, where her producer and husband Barry Friedman (aka Frazier Mohawk) worked.<br />
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Beautifully recorded and featuring a small army of sympathetic session players, including Lee Underwood, Dallas Taylor, Doug Hastings and Jerry Penrod, <i>Primordial Lovers </i>is a deep, even psychedelic experience that gently unfolds over multiple plays.</div>
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For some strange reason, a handful of advance copies were sent out in a red sleeve in early 1970. (The music and running order on these is identical to the commercial release.)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgksMFX4OPx8RX_QD5R9iR_lGHWiyKKZ2LnQmMQ0lHQoT1te3NodVNwFbfYjmLzZugjkh9JsEsGFviMEUwsVBdObWDhrbrWafe2TzTTtaGvzSaViuWq3PGKPI5iyMkWPwEjC92hCtCb0E8/s1600/IMG_2859.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="633" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgksMFX4OPx8RX_QD5R9iR_lGHWiyKKZ2LnQmMQ0lHQoT1te3NodVNwFbfYjmLzZugjkh9JsEsGFviMEUwsVBdObWDhrbrWafe2TzTTtaGvzSaViuWq3PGKPI5iyMkWPwEjC92hCtCb0E8/s640/IMG_2859.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_2ZOodFTl13vyVuyE2a30BNmTpTFiImQnaidwnxmT9bKVihAcuB2FHwrj0m58-ZrBbXk0jyV3ATRGwy2GDqLHM_RdqIla-JDv6d_hCAfPQ_FIEv9tMGyKbjhm5x6iAKTW5lrLJ5IufK0/s1600/IMG_2860.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="636" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_2ZOodFTl13vyVuyE2a30BNmTpTFiImQnaidwnxmT9bKVihAcuB2FHwrj0m58-ZrBbXk0jyV3ATRGwy2GDqLHM_RdqIla-JDv6d_hCAfPQ_FIEv9tMGyKbjhm5x6iAKTW5lrLJ5IufK0/s640/IMG_2860.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDwHy7JNfYG1-F4qlVoup6xJJDL63f2vXtX8mU99PTXKp8R5zmUUftyXsZ1vgHIYdTyKuWvs8IqYkuv2QOTOysipiWd2ovkvg8azLYC50tdTSocO8rKQbKEI51kXg89yzv1RtPjYWVT7s/s1600/IMG_2861.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDwHy7JNfYG1-F4qlVoup6xJJDL63f2vXtX8mU99PTXKp8R5zmUUftyXsZ1vgHIYdTyKuWvs8IqYkuv2QOTOysipiWd2ovkvg8azLYC50tdTSocO8rKQbKEI51kXg89yzv1RtPjYWVT7s/s640/IMG_2861.jpg" width="636" /></a></div>
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<i>Primordial Lovers</i> was released in the US and Canada in April 1970 (no foreign pressings are known to exist), in a striking gatefold sleeve designed by Ed Thrasher, showing the Mohawks' entwined bodies.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2fmJP4A9_tPCd5PyXMeKGc7y7hW-h4-JI_uH-Lb6MlMmrA0xVFTPzwlGM6yJeSl7jqlv6jZySwX2feSI4JFonxmybc2OmoyyrJHxHgJuTlJ6JHwD0Rq0VdIQPAoyqA8M4q9vOmeqs3YY/s1600/IMG_2858.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2fmJP4A9_tPCd5PyXMeKGc7y7hW-h4-JI_uH-Lb6MlMmrA0xVFTPzwlGM6yJeSl7jqlv6jZySwX2feSI4JFonxmybc2OmoyyrJHxHgJuTlJ6JHwD0Rq0VdIQPAoyqA8M4q9vOmeqs3YY/s640/IMG_2858.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMxNRFvhpeDYIrj0w5KR0ji2sIKhi_XgUZ-fmFH0cOFXl5b1L9c2xt2Rps_2qGfEghV8ZuXliZ5gD6E5MksaGyiZyu3mVyZi2Nf38J9Fkrmy5XAFExxV_Ap0Ef1N71S_-boQyF-nAfulg/s1600/IMG_2855.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMxNRFvhpeDYIrj0w5KR0ji2sIKhi_XgUZ-fmFH0cOFXl5b1L9c2xt2Rps_2qGfEghV8ZuXliZ5gD6E5MksaGyiZyu3mVyZi2Nf38J9Fkrmy5XAFExxV_Ap0Ef1N71S_-boQyF-nAfulg/s640/IMG_2855.jpg" width="640" /></a></div>
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Also included was a plump little lyric booklet:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCmcZ6KcunvdAnEdzPTc3qXf8fCUhUdMnLc2-20kKxdf4t9emhWX3fbJSJUxJ-rubKLLdOjy6aoK8kW3U4NI99DbXEIeUFR2jCnawi4Wc9IGsceecklEnkNH6vMWtHQlj4I-sPzOAgnOo/s1600/IMG_2857.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCmcZ6KcunvdAnEdzPTc3qXf8fCUhUdMnLc2-20kKxdf4t9emhWX3fbJSJUxJ-rubKLLdOjy6aoK8kW3U4NI99DbXEIeUFR2jCnawi4Wc9IGsceecklEnkNH6vMWtHQlj4I-sPzOAgnOo/s640/IMG_2857.jpg" width="428" /></a></div>
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Here's the press release and accompanying photo that were sent out to radio stations and reviewers:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9kXRUE0_q1x9mTCG9VEYfltuap0KJaZzeJFRiH7o3gusfW7Qpk8-lify61N74lkRUgEZD33DhZD8pf8W82Nt2L9lOz9dhQqMM1E84jOX1HkHvtUcvGuX9-HB9uIz6vv12cwVMs3JM5aI/s1600/CCF21042017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9kXRUE0_q1x9mTCG9VEYfltuap0KJaZzeJFRiH7o3gusfW7Qpk8-lify61N74lkRUgEZD33DhZD8pf8W82Nt2L9lOz9dhQqMM1E84jOX1HkHvtUcvGuX9-HB9uIz6vv12cwVMs3JM5aI/s640/CCF21042017.jpg" width="502" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fLiJ2BOQXjUp2yYgBAkGswoALpkWZUspZd-pngcUgcqGJb8MkjFYb8NfGmVKnqW2S7kWqdXzdkuVKFUVOHsYwo4iVd6Pxm1cRPflo4LYH9_C79K9ZeyYIwe6ayh1KfRukHt0nlqzKL4/s1600/CCF21042017_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fLiJ2BOQXjUp2yYgBAkGswoALpkWZUspZd-pngcUgcqGJb8MkjFYb8NfGmVKnqW2S7kWqdXzdkuVKFUVOHsYwo4iVd6Pxm1cRPflo4LYH9_C79K9ZeyYIwe6ayh1KfRukHt0nlqzKL4/s640/CCF21042017_3.jpg" width="492" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-qQ6YrCjKCNAyS68F0p0LTUzD619eTj_B6Re908Y1M-IpsNi-3XXiWgC_sQryDiTI24ql-Td1lLtxOpaK0if19gG-okp9-xTNihMBJCblld7IufwTZDKAJ4lz8KCPuUGkUCe7c9mg2Y/s1600/CCF21042017_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-qQ6YrCjKCNAyS68F0p0LTUzD619eTj_B6Re908Y1M-IpsNi-3XXiWgC_sQryDiTI24ql-Td1lLtxOpaK0if19gG-okp9-xTNihMBJCblld7IufwTZDKAJ4lz8KCPuUGkUCe7c9mg2Y/s640/CCF21042017_4.jpg" width="492" /></a></div>
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It also appeared on 8-track cartridge:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCr1J7_5Pv5q87NFVnmmwuXrD0fA5w5oAN2pmAziG2HO0R4lpf2tgA1AYI7tWtPITCit-OA3qdPqXP4YOPlnm53cOWKEMeDy-gK81qIx6vyXcdJRbQ7iT8WaYSQPPGCNxxqRBkupU-z30/s1600/Screen+Shot+2018-06-07+at+10.58.17.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="1600" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCr1J7_5Pv5q87NFVnmmwuXrD0fA5w5oAN2pmAziG2HO0R4lpf2tgA1AYI7tWtPITCit-OA3qdPqXP4YOPlnm53cOWKEMeDy-gK81qIx6vyXcdJRbQ7iT8WaYSQPPGCNxxqRBkupU-z30/s640/Screen+Shot+2018-06-07+at+10.58.17.png" width="640" /></a></div>
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The only advert I've seen was shared with several other Reprise releases, and crassly drew attention to the 'erotic packaging', as well as wrongly stating it was her 'debut':</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg26bz7t4Vn2X7ntKzg2ATsbwTBFzgZyjDenGk7kVmK5vAlb7ERom13NCNuHT4RUV3cOaJeUgY8I-sUpIKsrCP6qCLhdCjRZxAGXiAGucaFTEJYjWmjV_MQ3ZFucIYRyOcCIyyhSfDwSLI/s1600/Screen+Shot+2017-04-21+at+11.40.34.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg26bz7t4Vn2X7ntKzg2ATsbwTBFzgZyjDenGk7kVmK5vAlb7ERom13NCNuHT4RUV3cOaJeUgY8I-sUpIKsrCP6qCLhdCjRZxAGXiAGucaFTEJYjWmjV_MQ3ZFucIYRyOcCIyyhSfDwSLI/s1600/Screen+Shot+2017-04-21+at+11.40.34.jpg" /></a></div>
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Few reviews appeared, and those that did tended to emphasise her superficial similarities to Laura Nyro. Oddly, as far as I am aware, no mainstream music magazines covered the LP.<br />
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Here's what <i>Entertainment World</i> wrote in their May 8th issue:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihMMbQIWYRI9OeqNYNA8u7L2XcIe3CoKgmGjftQkOkQiyfjZttGBRmziF1MhKUydzmBELHXvMbqnyxVLCb_GEPBZa9_WsrAHD9fwU-_ARGj0FsCahEtKalY14Z6ZxrGtXO0GpEDKAQGgQ/s1600/Screen+Shot+2017-04-21+at+13.40.02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihMMbQIWYRI9OeqNYNA8u7L2XcIe3CoKgmGjftQkOkQiyfjZttGBRmziF1MhKUydzmBELHXvMbqnyxVLCb_GEPBZa9_WsrAHD9fwU-_ARGj0FsCahEtKalY14Z6ZxrGtXO0GpEDKAQGgQ/s1600/Screen+Shot+2017-04-21+at+13.40.02.jpg" /></a></div>
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On Sunday, June 7th, Jack Lloyd of the <i>Philadelphia Enquirer</i> weighed in:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8bllQiLHni-CYP3X2wlMSINjsV5QPINoq6OvIhMkz-rPoo58TAp5XH3tuwcbqGwQ58Ae5aCojnNwPtUS2h28YWM0UlkZlORU-EQIhqHYrzN-1p07yTlU2ePRty5LLY0YzYmd8zwzoWo/s1600/The_Philadelphia_Inquirer_Sun__Jun_7__1970_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="854" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8bllQiLHni-CYP3X2wlMSINjsV5QPINoq6OvIhMkz-rPoo58TAp5XH3tuwcbqGwQ58Ae5aCojnNwPtUS2h28YWM0UlkZlORU-EQIhqHYrzN-1p07yTlU2ePRty5LLY0YzYmd8zwzoWo/s640/The_Philadelphia_Inquirer_Sun__Jun_7__1970_.jpg" width="340" /></a></div>
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<i>High Fidelity</i> magazine had this to say in August:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyduBR3B6ZO1HTo5xzMSSGsWTVOq-P7eJQkdrmc9IjWnDOnzPcYiJXzcbQKtxMNFUQrTcaak854VUhPzowj66fLqN17n9qfzWA3s3GTZmXaTKn4LwLmlXXq7Q6bnHK7dFybrDAX107ebQ/s1600/High+Fidelity+Aug+70.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyduBR3B6ZO1HTo5xzMSSGsWTVOq-P7eJQkdrmc9IjWnDOnzPcYiJXzcbQKtxMNFUQrTcaak854VUhPzowj66fLqN17n9qfzWA3s3GTZmXaTKn4LwLmlXXq7Q6bnHK7dFybrDAX107ebQ/s640/High+Fidelity+Aug+70.jpg" width="314" /></a></div>
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On Sunday, October 25th, <span style="text-align: left;">Jack Lloyd of the</span><span style="text-align: left;"> </span><i style="text-align: left;">Philadelphia Enquirer </i><span style="text-align: left;">also interviewed her, and made it clear how little headway she had made with the album:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiinPmBEbD4O3p4M8-1oLzqK34cisDAKiEOCLA7JlYxd3HzhteWx-ft3UD3ensIR7XrbnIH1PMg4FX6NZS2cAeiD53Lg8VwlpPc1uPUeIMsu1na5xRVVUYn_5HaIqA0gGpNO-wyjdbeJvQ/s1600/The_Philadelphia_Inquirer_Sun__Oct_25__1970_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1011" data-original-width="1600" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiinPmBEbD4O3p4M8-1oLzqK34cisDAKiEOCLA7JlYxd3HzhteWx-ft3UD3ensIR7XrbnIH1PMg4FX6NZS2cAeiD53Lg8VwlpPc1uPUeIMsu1na5xRVVUYn_5HaIqA0gGpNO-wyjdbeJvQ/s640/The_Philadelphia_Inquirer_Sun__Oct_25__1970_.jpg" width="640" /></a></div>
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Here's a five-star review in <i>Down Beat</i> of November 12th (review by Mike Bourne):</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrOMgi1VBtW1pshbIcc_f4v7PI4k7UuQkzqY2DRSMBP2N9tjrrZRqRBFAduroJIw7NqVsiftmNB_LoDDb38F0jqDR74sifnD5W_Y6MLyKshq42MwyHa_gXVgwLU5AHEYpWT-XuXPsxVjI/s1600/Screen+Shot+2017-04-21+at+14.18.18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrOMgi1VBtW1pshbIcc_f4v7PI4k7UuQkzqY2DRSMBP2N9tjrrZRqRBFAduroJIw7NqVsiftmNB_LoDDb38F0jqDR74sifnD5W_Y6MLyKshq42MwyHa_gXVgwLU5AHEYpWT-XuXPsxVjI/s1600/Screen+Shot+2017-04-21+at+14.18.18.jpg" /></a></div>
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And, finally, here's a typically sniffy assessment from the American Record Guide's December issue:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO6qYNy5G-A0j_bpqXpTn_RJDektTOac9imjCwxQvZaO7-SHe48rBGeadD_pTN3-dPt6Xc8BQEgKLYGRvEDyKTxyrrdTKaa-GVvS5kic2__i6TWf93GUkWHFJhPz98OmQaHPjBImGtJI0/s1600/Screen+Shot+2017-04-21+at+13.01.12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO6qYNy5G-A0j_bpqXpTn_RJDektTOac9imjCwxQvZaO7-SHe48rBGeadD_pTN3-dPt6Xc8BQEgKLYGRvEDyKTxyrrdTKaa-GVvS5kic2__i6TWf93GUkWHFJhPz98OmQaHPjBImGtJI0/s400/Screen+Shot+2017-04-21+at+13.01.12.jpg" width="400" /></a></div>
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A 45 containing mono and stereo versions of Spiral was sent to radio stations along with the LP. In addition, a stock pressing was made with the non-LP track Image Of You on the B-side. I am only aware of one copy of the latter:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCaAiEukBcOrBYfZdxIB_IXLNqKWZ4WcqtHbe9mQnNydAz1IhtRp5ZOuftPmAGA0H1z3XLyHMyXOqtN7pRPQugPbNMXcPAdVPfrmBCf1DELaU-dVlnLTjsg2j_MnDX0xUOVlQ2nGBGBAs/s1600/IMG_9492.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1357" data-original-width="1439" height="602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCaAiEukBcOrBYfZdxIB_IXLNqKWZ4WcqtHbe9mQnNydAz1IhtRp5ZOuftPmAGA0H1z3XLyHMyXOqtN7pRPQugPbNMXcPAdVPfrmBCf1DELaU-dVlnLTjsg2j_MnDX0xUOVlQ2nGBGBAs/s640/IMG_9492.jpg" width="640" /></a></div>
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Despite having cost a small fortune to record and manufacture, the LP was clobbered by poor distribution and promo, and sold poorly, as did a non-LP 45, Jabberwock Song / It's Up To Me, which appeared in May:</div>
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That, unfortunately, was that; a silence of five years was to ensue before her next recordings appeared.</div>
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As a final note, it has been claimed by <i>Mojo</i> and numerous others that <i>Rolling Stone</i> hailed <i>Primordial Lovers</i> as 'one of the 25 best albums ever made' upon its release. In fact, they didn't review the album at all. However, in 1977 a <i>RS</i> writer referred to it in passing as one of his personal best 25 albums of all time, something that is now quoted out of context whenever the album is mentioned, as if it were the result of a critics’ poll.</div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com3tag:blogger.com,1999:blog-3367600000263578810.post-7493694576735935912017-03-14T02:29:00.004-07:002018-01-03T05:14:08.941-08:00DIMAGRAPHY AND THE ART OF ORGANOLEPTIC EVALUATION<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "georgia" , "times new roman" , serif;">One of the most important lessons a record collector can learn is that you never know what might turn up - even things you might think couldn't possibly exist. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxK5zeqpa5Tvi1KCAgIG-uBcm_w4MbDPwGlG3PSuQDRmykLp9DGCKQ1ZvlPdTyP1POZxN4BaLWXfMZFkLGSistUJFzkPpBGE2quiv98RpD1XCUUywRJk1NVUmlFewVn2spT9nmsD9IZco/s1600/%2524_7.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxK5zeqpa5Tvi1KCAgIG-uBcm_w4MbDPwGlG3PSuQDRmykLp9DGCKQ1ZvlPdTyP1POZxN4BaLWXfMZFkLGSistUJFzkPpBGE2quiv98RpD1XCUUywRJk1NVUmlFewVn2spT9nmsD9IZco/s1600/%2524_7.JPG" /></span></a><span style="font-family: "georgia" , "times new roman" , serif;">Until last year an eBay seller based in the US named 'marc_arel11' was selling sealed copies of classic 60s and 70s LPs, with previously unseen promo or 'hype' stickers on the sleeves. When that account suddenly went idle, a new one emerged, using the handle 'dimagraphy', and is still going strong. This seller appears to be named Dmitry Demchenko, and the listings say he's based in Garden Grove, California. Are his LPs from a record industry source, a radio station, or a reviewer? Or is he simply very lucky at sourcing such treasures? No one knows. But the truly amazing thing about his listings is that many of the stickers - which are almost all in remarkable, as-new condition - have also never been seen before, even by old-school collectors. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">In February of this year he raked in an impressive $2,154.00 for an original August 1966 paste-over copy of the Beatles' Yesterday & Today LP. It boasted a sticker that not only referred to the sleeve as a 'butcher cover' - therefore being the first documented use of the term - but also described it as '2nd state' (again, the first documented use of the term). </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Here's the beautiful vintage sticker found on that copy: </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifPqUUp3CvXAx58Ky9vOUMeRgYM2ujyicdnIzVVhcGFFkUB3OMSQdUR772iBrkQVZrT-961LrfnffKm17hclvIF76V3BsJ_TOZEH9SHDsowok-EKEhIawuFp_zf1Li-iRRfJ-16VoU5Gc/s1600/16463810_1337691342968309_8262256890767152700_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifPqUUp3CvXAx58Ky9vOUMeRgYM2ujyicdnIzVVhcGFFkUB3OMSQdUR772iBrkQVZrT-961LrfnffKm17hclvIF76V3BsJ_TOZEH9SHDsowok-EKEhIawuFp_zf1Li-iRRfJ-16VoU5Gc/s640/16463810_1337691342968309_8262256890767152700_o.jpg" width="640" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">You can click <span style="color: red;"><b><a href="http://www.ebay.com/itm/THE-BEATLES-YESTERDAY-AND-TODAY-MEGA-RARE-ORIG-66-MONO-1ST-PRESS-BUTCHER-COVER-/322406539859?hash=item4b10ed6253%3Ag%3A63YAAOSwImRYjjD1&nma=true&si=Rxna8rnNjNb70SzPpgHNVCMgE5o%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557" target="_blank">HERE</a></b><span id="goog_572794780"></span><span id="goog_572794781"></span><a href="https://www.blogger.com/"></a> </span>for the auction listing.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">On and on it goes - all in lovely condition, mostly previously unknown to hardcore collectors. For example, who knew that</span><span style="font-family: georgia, "times new roman", serif;"> the shrink on US first pressings of </span><i style="font-family: georgia, "times new roman", serif;">Led Zeppelin II</i><span style="font-family: georgia, "times new roman", serif;"> came with track listing stickers in two different colours? All the ones previously known were pink, with sharp corners (as seen on the right here), but Dmitry's copy (on the left) is black, with rounded corners - and in wonderfully clean condition:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLtA6h9_rw7Jo5O39CWLzzVb8F5TFHPH4kLVc5G4QdJBEznBsC7HUUmgceFnfAv-QoJU1-fLmcXlPk6YoDLC9GKzOSGdkpvMIsKxBYegRr4W-1QysD45eIanqJebR_GJ7Idakoq1fuX28/s1600/15994587_1320049061399204_5304930650171627559_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLtA6h9_rw7Jo5O39CWLzzVb8F5TFHPH4kLVc5G4QdJBEznBsC7HUUmgceFnfAv-QoJU1-fLmcXlPk6YoDLC9GKzOSGdkpvMIsKxBYegRr4W-1QysD45eIanqJebR_GJ7Idakoq1fuX28/s640/15994587_1320049061399204_5304930650171627559_o.jpg" width="640" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">You can see that listing, which netted him an enviable $1313 - by clicking <b><a href="http://www.ebay.com/itm/LED-ZEPPELIN-II-RARE-US-ORIG-039-69-ATLANTIC-1ST-PRESS-BOB-LUDWIG-SS-SHRINK-N-MINT-/322383728409?hash=item4b0f914f19%3Ag%3ADqEAAOSwt5hYcHJ3&nma=true&si=Rxna8rnNjNb70SzPpgHNVCMgE5o%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557" target="_blank">HERE</a></b>. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">His greatest coup so far has surely been to find an original, sealed promo copy of the Rolling Stones' 1967 <i>Their Satanic Majesties Request </i></span><span style="font-family: "georgia" , "times new roman" , serif;">LP</span><span style="font-family: "georgia" , "times new roman" , serif;">, bearing a promo sticker for Polygram records - a European company to which they were not signed, and which did not exist until 1972. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Here's the beautiful vintage sticker on that one:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcCWRSKe6tcB1pikti2O1uYuYTpWKlMMcSMw11zV4fyA4e1bIXs668x-MUv-9rZLbaqB_feBNW1TICzBjN2ZEghjIrfrpIY3p7uHPh0TQwXLvGmKV179KwLSb5bo2jldbK3rLTuHB1Kgw/s1600/s-l1600-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcCWRSKe6tcB1pikti2O1uYuYTpWKlMMcSMw11zV4fyA4e1bIXs668x-MUv-9rZLbaqB_feBNW1TICzBjN2ZEghjIrfrpIY3p7uHPh0TQwXLvGmKV179KwLSb5bo2jldbK3rLTuHB1Kgw/s640/s-l1600-1.jpg" width="640" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">and <b><a href="http://www.ebay.com/itm/THE-ROLLING-STONES-THEIR-SATANIC-MAJESTIES-REQUEST-ORIG-67-LONDON-PROMO-SEALED-/222429743203?hash=item33c9d88863%3Ag%3Ac5wAAOSw%7EAVYuGTE&nma=true&si=g54GtWfu9A0lTlvuVVOwGJQItf8%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557" target="_blank">HERE</a></b> is the original listing, which unsurprisingly hauled in a whopping $1009.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Cynics might cry foul, but Dmitry offers this assurance: 'BASED ON OUR EXPERIENCE AND ORGANOLEPTIC EVALUATION ALL OF THE ELEMENTS OF THE ISSUE LEAVE NO DOUBTS THAT IT IS THE ORIGINAL FIRST PRESSING.'</span></div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com27tag:blogger.com,1999:blog-3367600000263578810.post-74081198768703818472016-09-02T04:08:00.002-07:002017-07-12T11:53:38.480-07:00CAPTAIN BEEFHEART and the Safe As Milk identity parade<div dir="ltr" style="text-align: left;" trbidi="on">
<i>Safe As Milk </i>was released in the US in the summer of 1967. Original copies came with an inner sleeve that depicted a number of the band's cronies:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-hrbbU0qtkj6LGqbkhtkgCpR0F6FGHkv31hKraX48J-O5x_0R0r6BTmKOwccXvsJxD1wE-6UXbyu7QBWVhOtK0q7eyrAOXHn5Wn9A4DWT_xZMMGR4nIq9M034H_ik1FHGVtXCXpHVGLQ/s1600/CCF30112015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-hrbbU0qtkj6LGqbkhtkgCpR0F6FGHkv31hKraX48J-O5x_0R0r6BTmKOwccXvsJxD1wE-6UXbyu7QBWVhOtK0q7eyrAOXHn5Wn9A4DWT_xZMMGR4nIq9M034H_ik1FHGVtXCXpHVGLQ/s640/CCF30112015.jpg" width="628" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUsDSjTVpHivWnqsS0z1UKg7Xpq6xrJJVQWFXm3kZT4lEv11zITxqqrqcbaq-WlZ582qweyUe2mczF94-uBwvxH0OE6banjZuZiFeL_S_7C3d5n8Q46OY2GIiYGVpzvjqDaN_S__wTMEc/s1600/CCF30112015_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUsDSjTVpHivWnqsS0z1UKg7Xpq6xrJJVQWFXm3kZT4lEv11zITxqqrqcbaq-WlZ582qweyUe2mczF94-uBwvxH0OE6banjZuZiFeL_S_7C3d5n8Q46OY2GIiYGVpzvjqDaN_S__wTMEc/s640/CCF30112015_2.jpg" width="632" /></a></div>
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Musicians aside, I can identify the following:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjynsn0iHGLm9quYEweP3HdZUeW2ksoFn-r2Khr0kefqZC6mrbpgMwheSpZ5l_8th3RGRqynjgPJOkrQzMbc6WEJOWz6ZuWv7UYlcFbYwzbIJno1-1B8cHfyMX3P4HLo5KtAXaBqdBicE8/s1600/IMG_8303.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjynsn0iHGLm9quYEweP3HdZUeW2ksoFn-r2Khr0kefqZC6mrbpgMwheSpZ5l_8th3RGRqynjgPJOkrQzMbc6WEJOWz6ZuWv7UYlcFbYwzbIJno1-1B8cHfyMX3P4HLo5KtAXaBqdBicE8/s640/IMG_8303.jpg" width="640" /></a></div>
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Label boss Bob Krasnow</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnQgcB_VGaUn5gUNI3__g8ecF5SQlredwyujbfnDnfE3GkKIw_G1zHGxkzSB_K9ZBgN7o0ORIPTHbAplfLsTsLhSo7O4TzvUZqp03aQZZyxMWUgEO8GO2HTFQDNxou88i0T3GpAl1cJhA/s1600/IMG_8304.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnQgcB_VGaUn5gUNI3__g8ecF5SQlredwyujbfnDnfE3GkKIw_G1zHGxkzSB_K9ZBgN7o0ORIPTHbAplfLsTsLhSo7O4TzvUZqp03aQZZyxMWUgEO8GO2HTFQDNxou88i0T3GpAl1cJhA/s640/IMG_8304.jpg" width="608" /></a><br />
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Producer Richard Perry</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQLcRgMUcpBMyoGBBCm2CPqwuDgwI-ijfDrI-5lNtNfSQyW_Krrp-gFLm3AssDAfVVn3H_zISosMQF9X9IwCqK9XRKcMTJI1BEUqcP-9nsl-7za8qyp0TdDMRhH-Wnia3nn2f4aE2tJE4/s1600/IMG_8305.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQLcRgMUcpBMyoGBBCm2CPqwuDgwI-ijfDrI-5lNtNfSQyW_Krrp-gFLm3AssDAfVVn3H_zISosMQF9X9IwCqK9XRKcMTJI1BEUqcP-9nsl-7za8qyp0TdDMRhH-Wnia3nn2f4aE2tJE4/s640/IMG_8305.jpg" width="616" /></a><br />
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DJ Tom Donahue</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzWdt4plITqOMT0VRTsSctWEzEd7ZuSUGJGEvHjt3RN7cHkdLvzHPs3_F_eLe1ltSSyovPCFC1uP9Bye9BHwmMBDePEPQNVPrAOqv0_vgWTWDkl-I-NGCcwSKbLFZqHZij3OywTqQJ3_E/s1600/IMG_8306.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzWdt4plITqOMT0VRTsSctWEzEd7ZuSUGJGEvHjt3RN7cHkdLvzHPs3_F_eLe1ltSSyovPCFC1uP9Bye9BHwmMBDePEPQNVPrAOqv0_vgWTWDkl-I-NGCcwSKbLFZqHZij3OywTqQJ3_E/s640/IMG_8306.jpg" width="500" /></a></div>
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Avalon manager Chet Helms</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrytWPnDCdCrLzbO0MmWf744Iyv-RovXt8knfwQCrZOpEbWxcfDm6iKNdDwNWOU3GKUfg5bhtD99FlVDLyEXSMGXYvC7Ah4fmI6gevQeY5_x34oErdvRDLnEZQnCOFMSSRP6klaj0osM8/s1600/IMG_8300.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrytWPnDCdCrLzbO0MmWf744Iyv-RovXt8knfwQCrZOpEbWxcfDm6iKNdDwNWOU3GKUfg5bhtD99FlVDLyEXSMGXYvC7Ah4fmI6gevQeY5_x34oErdvRDLnEZQnCOFMSSRP6klaj0osM8/s640/IMG_8300.jpg" width="604" /></a></div>
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Los Angeles DJ Bobby Dale</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-kcV58lrnTd83e-pVMqsdLGFgZ9C-sMr6yqc_o-7km7m49__XDDYpGvMgn-cYQ3Ol7mUYp9uH6AvXsj-H5zOi4xDfkS27aB9-iTLx7Aftubb1KbVHj6txsyAQ-Q17hFI864oTpLHLtxc/s1600/IMG_8299.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-kcV58lrnTd83e-pVMqsdLGFgZ9C-sMr6yqc_o-7km7m49__XDDYpGvMgn-cYQ3Ol7mUYp9uH6AvXsj-H5zOi4xDfkS27aB9-iTLx7Aftubb1KbVHj6txsyAQ-Q17hFI864oTpLHLtxc/s640/IMG_8299.jpg" width="616" /></a><br />
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Engineer Hank Cicalo</div>
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Mrs. Sandy Krasnow and their children</div>
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Producer Richard Perry's younger brother, Fred</div>
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An unnamed receptionist at the Kama Sutra / Buddha office in Los Angeles</div>
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The others are a mystery. Any ideas?</div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com11tag:blogger.com,1999:blog-3367600000263578810.post-53788486948375993102016-09-02T03:19:00.000-07:002019-10-15T04:40:01.093-07:00CAPTAIN BEEFHEART and the release of Safe As Milk<div dir="ltr" style="text-align: left;" trbidi="on">
Readers of this blog will of course need no introduction to Captain Beefheart's first album. This post concerns its release date; the one universally given is September 1967, but it's three months out. Here's the evidence.<br />
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<b>1) </b>this advert appeared in <i>Cash Box</i> as early as May 27th:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvs3yFCcYC63J9wkLalWwczC7EilIt-EfOJblWM6Nm-XaevNDuyaKsVd3FYwe7Y6C3cvQFlrxVnIlM17hufLLPlTom0_xPo-GwwslOeSRRr8245u2xcjL7bl91OGou50CjVAd4Cxr84l4/s1600/s-l1600-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="948" data-original-width="1273" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvs3yFCcYC63J9wkLalWwczC7EilIt-EfOJblWM6Nm-XaevNDuyaKsVd3FYwe7Y6C3cvQFlrxVnIlM17hufLLPlTom0_xPo-GwwslOeSRRr8245u2xcjL7bl91OGou50CjVAd4Cxr84l4/s640/s-l1600-1.jpg" width="640" /></a></div>
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The same ad ran in <i>Billboard</i> on June 24th, with text added to the bottom:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcXQFSIGQDFNqpwVl4qdNQzR0CTMqL2daGMwvJQaCL3AzhLDZQez8XoUhon9d-SeLry7jHd39jTmwETx6JEG9mM3HOzMQlSsdoEL9XhcaHOZu5xvzYhl4BCNm4Mhyphenhyphenr0OFwH9HmziaDTFY/s1600/Capt.+Beefheart+BB+67+6%253A24+Safe+diff+%2526+better.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcXQFSIGQDFNqpwVl4qdNQzR0CTMqL2daGMwvJQaCL3AzhLDZQez8XoUhon9d-SeLry7jHd39jTmwETx6JEG9mM3HOzMQlSsdoEL9XhcaHOZu5xvzYhl4BCNm4Mhyphenhyphenr0OFwH9HmziaDTFY/s640/Capt.+Beefheart+BB+67+6%253A24+Safe+diff+%2526+better.jpg" width="640" /></a></div>
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<b>2) </b>this double-spread appeared in <i>World Countdown</i> in June<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlM1QYuGnG53rc9-KdmmJtk13H8OWAn6DVIrNs4hb5bKlOrAWLcTkLxxp4DUMxD2nqT7UGFrA7OUUjdKN5_WnrCxUt6VJnZD3Kh0n8KBn52AtqgDiKa5lznB5n0eC51ngZK12Om26TDT4/s1600/Screen+Shot+2016-09-02+at+10.30.23.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlM1QYuGnG53rc9-KdmmJtk13H8OWAn6DVIrNs4hb5bKlOrAWLcTkLxxp4DUMxD2nqT7UGFrA7OUUjdKN5_WnrCxUt6VJnZD3Kh0n8KBn52AtqgDiKa5lznB5n0eC51ngZK12Om26TDT4/s640/Screen+Shot+2016-09-02+at+10.30.23.jpg" width="640" /></a></div>
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<b>3) </b>John Lennon posed for this photo at home in Surrey on June 29th (though the stickers, one of which came with each copy of the LP, could easily have been given to him separately by his pal Derek Taylor, who was managing Beefheart's publicity at the time)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDreTCI2yxGkR0BPi-TpVq3hI0WtN2fUsx7klB7hXd3zeEcBuZFzp2N31Nz9MiTCE3bDNXw7HuDNuM7wcrINPktWUP9CsWgU6xPqjszC4u4y07yXiYSZzN0G-ZguXVUgt9mZfknAuM8xM/s1600/johnathomeabf5cd75-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDreTCI2yxGkR0BPi-TpVq3hI0WtN2fUsx7klB7hXd3zeEcBuZFzp2N31Nz9MiTCE3bDNXw7HuDNuM7wcrINPktWUP9CsWgU6xPqjszC4u4y07yXiYSZzN0G-ZguXVUgt9mZfknAuM8xM/s1600/johnathomeabf5cd75-2.jpg" /></a></div>
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<b>4) </b>This collage appeared in <i>World Countdown</i> in July<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibMPaah38crEhecFdicevcMaTzqZIxYMKiuOpk1dmk4DMo3V-q89eI7wQ-gr0rClrVtT_7bOBzXm-0kasee0rTnbZOnPp-KWSMVrr-wUK-qcZH00sN94zo4tXefNhWAnA341nl70GlDoQ/s1600/Screen+shot+2014-06-13+at+09.08.34.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibMPaah38crEhecFdicevcMaTzqZIxYMKiuOpk1dmk4DMo3V-q89eI7wQ-gr0rClrVtT_7bOBzXm-0kasee0rTnbZOnPp-KWSMVrr-wUK-qcZH00sN94zo4tXefNhWAnA341nl70GlDoQ/s1600/Screen+shot+2014-06-13+at+09.08.34.jpg" /></a></div>
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<b>5) </b>This advert appeared in The San Francisco Examiner of Sunday, July 30th 1967.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTja5KFF6aEKbevGGhgCIz8ub24gI46A0n5ks3Rk_QtAuyj8d0jHllU6pjz2WOy4N5zQY5PeRRyHZtjtFbwqbUDSFRphmpvvUtM1CgXWJkh27nirj1old8D9zKFHs4vpHrK7Yh72bF3SA/s1600/The_San_Francisco_Examiner_Sun__Jul_30__1967_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1349" data-original-width="1600" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTja5KFF6aEKbevGGhgCIz8ub24gI46A0n5ks3Rk_QtAuyj8d0jHllU6pjz2WOy4N5zQY5PeRRyHZtjtFbwqbUDSFRphmpvvUtM1CgXWJkh27nirj1old8D9zKFHs4vpHrK7Yh72bF3SA/s640/The_San_Francisco_Examiner_Sun__Jul_30__1967_.jpg" width="640" /></a></div>
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6) This advert appeared in <i>World Countdown</i> in August (and makes the unlikely claim that 20,000 copies had already changed hands)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd1_XNJ9eCPr6gfENhcwZDVSsP-m0Wba2PceISmxuSvS1NoaVt7cWAvfAIBDOtx4p8Yq4tjUWMoR4MlmVkzWZy2ZmbZH65DEcv0iV1EuYYF40cnFQbkS9RdQUr6wzMzc2QV9-zJzM0v4I/s1600/Screen+shot+2014-06-13+at+09.09.26.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd1_XNJ9eCPr6gfENhcwZDVSsP-m0Wba2PceISmxuSvS1NoaVt7cWAvfAIBDOtx4p8Yq4tjUWMoR4MlmVkzWZy2ZmbZH65DEcv0iV1EuYYF40cnFQbkS9RdQUr6wzMzc2QV9-zJzM0v4I/s1600/Screen+shot+2014-06-13+at+09.09.26.png" /></a></div>
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<b>7) </b>In <i>Billboard</i> of August 19th, the LP was tipped as a ‘National Breakout,’ indicating albums that 'have been reported getting strong sales action by dealers in major markets’:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8bpZ7hTqB3QSthNNfsMhx44-gmedXjWUFiBuyofrhHNTkq8OiFDBhy-Y9hDY-0I3ZLqhiBY0blbIQeY5r6NWxUf1PHoJDaYeug3BmWD_WRrootqtnOQOya3mE1IUl5gha-xUF9m9jadI/s1600/Screen+Shot+2016-09-04+at+22.05.44.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8bpZ7hTqB3QSthNNfsMhx44-gmedXjWUFiBuyofrhHNTkq8OiFDBhy-Y9hDY-0I3ZLqhiBY0blbIQeY5r6NWxUf1PHoJDaYeug3BmWD_WRrootqtnOQOya3mE1IUl5gha-xUF9m9jadI/s640/Screen+Shot+2016-09-04+at+22.05.44.png" width="640" /></a></div>
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8) Also on August 19th, Cash Box ran this brief 'review'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbFeYhpt_vq8VlPzyxMMYMDd6nPLec_DH7aNTsjDfCq79WjMCQbf3gGRp9LWZj-f5VI7rZEdasXXICpD18HfIx9JUfqqZqqRZegildCpwKXA4mMBnJxygwkCCr-MxXVgklZlLqwXAKzAc/s1600/Cash+Box+Aug+19th+67.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="1256" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbFeYhpt_vq8VlPzyxMMYMDd6nPLec_DH7aNTsjDfCq79WjMCQbf3gGRp9LWZj-f5VI7rZEdasXXICpD18HfIx9JUfqqZqqRZegildCpwKXA4mMBnJxygwkCCr-MxXVgklZlLqwXAKzAc/s640/Cash+Box+Aug+19th+67.jpg" width="640" /></a></div>
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9) This advert appeared in <i>KRLA Beat</i> on August 26th:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqwZTP-Uq50bQMz2UBHUzVsHWTzg_Ng8mFRcKCvJiDWaYhye7Co99wml2ImPgfOeYnyiFa2As47akzZQCNx7Cjmkqf4Ez9bshUWWF8r8sKzon9O0fFpKmwBLxkSOLFsX-a4yED-c9ShHM/s1600/Screen+Shot+2017-12-15+at+09.08.14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1167" data-original-width="1600" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqwZTP-Uq50bQMz2UBHUzVsHWTzg_Ng8mFRcKCvJiDWaYhye7Co99wml2ImPgfOeYnyiFa2As47akzZQCNx7Cjmkqf4Ez9bshUWWF8r8sKzon9O0fFpKmwBLxkSOLFsX-a4yED-c9ShHM/s640/Screen+Shot+2017-12-15+at+09.08.14.jpg" width="640" /></a></div>
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10) For what it's worth, <i>World Countdown</i> ran yet another large ad for it the following month:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgHnjrBivARJztiI8AaCuWApD2r5nHy6UT1E-azWVmsyWTb0pc1wrd4fBqab5aqKMumqgaAVcUgHJXds7O60Mcts_-GlH7d-CzGHzI5Ebhz3vqX_eR3pZ2p0Ud6Ek-7HMWyZ06O0_P7w/s1600/Screen+shot+2014-06-13+at+09.12.49.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgHnjrBivARJztiI8AaCuWApD2r5nHy6UT1E-azWVmsyWTb0pc1wrd4fBqab5aqKMumqgaAVcUgHJXds7O60Mcts_-GlH7d-CzGHzI5Ebhz3vqX_eR3pZ2p0Ud6Ek-7HMWyZ06O0_P7w/s1600/Screen+shot+2014-06-13+at+09.12.49.png" /></a></div>
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11) Finally, on January 11th 1969, the UK music weekly <i>Record Mirror</i> ran an intriguing letter from Michael Ashwell of One Stop Records in London:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0dOqicHy3k3G9AT-hJ2hQv4yXnuaKQvOvxk-Wd3uHVFrJmetW0q9HuHTAHPoc-elln_sIuhWKXsedmB4x7A_v0q7favxmt94CUKZWDbE9fCt-3FjH7UFyGIHRwrVBTu6bhvff4JvrYAc/s1600/CCF02092016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0dOqicHy3k3G9AT-hJ2hQv4yXnuaKQvOvxk-Wd3uHVFrJmetW0q9HuHTAHPoc-elln_sIuhWKXsedmB4x7A_v0q7favxmt94CUKZWDbE9fCt-3FjH7UFyGIHRwrVBTu6bhvff4JvrYAc/s1600/CCF02092016.jpg" /></a></div>
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The letter makes it clear that John Peel had received a 'review copy' in late July 1967, which - allowing for transatlantic shipping - confirms a release date of mid-July at the latest.<br />
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The earliest review I have seen for the album, incidentally, appeared in The Los Angeles Times on Sunday, September 10th 1967, which might account for the assumption that the album was released that month.<br />
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One last thought: on the inner sleeve that came with the LP, a jolly chap in a sombrero can be seen holding a copy of <i>Sgt. Pepper</i>, which was released at the start of June - so if <i>Safe As Milk</i> did come out the same month, the artwork must have been turned around pretty fast.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWVMEbPVhDT1ynh9nxiMWtB9n76dQe9Vp5LXb2D0CChzOPLsxj9R6J6kkpBRAkBj9XxOyn2fRYBmIoXVCl_u9EKfRA1ui9fUt__9e_WpmCHccs1A0SlgunjyPZF1aEL8ABcApfe9No6y0/s1600/IMG_8294.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWVMEbPVhDT1ynh9nxiMWtB9n76dQe9Vp5LXb2D0CChzOPLsxj9R6J6kkpBRAkBj9XxOyn2fRYBmIoXVCl_u9EKfRA1ui9fUt__9e_WpmCHccs1A0SlgunjyPZF1aEL8ABcApfe9No6y0/s640/IMG_8294.jpg" width="604" /></a></div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com2tag:blogger.com,1999:blog-3367600000263578810.post-15706826166038849172015-10-19T02:02:00.001-07:002015-10-19T02:02:31.722-07:00THE BEATLES: an exciting new discovery!<div dir="ltr" style="text-align: left;" trbidi="on">
As many of you will know, at the end of 1970 the moribund Official Beatles Fan Club sent its members an LP entitled <i>From Then To You</i>, compiling the light-hearted 'Christmas message' flexidiscs they'd received from the band every Christmas between 1963 and 1969. Though it was pressed by Lyntone (who'd also made the flexis) instead of EMI, it was on the Apple label. The earlier messages tend towards sub-Goons / Stanley Unwin jollity, while the later ones have tentative studio effects and musical content. All are irritating on repeated listens, but worth a spin for serious fans. The sleeve reproduces the front covers of all seven discs, but offers no background info. A pressing size isn’t known, but as it was never commercially available, it’s extremely rare by the standards of their other official releases, changing hands for up to £1000 in perfect condition.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1IJOhk2PoQaAsrYgK21Yqh9gMbmgBokc7Lg8Syle-wK85BR6I57-UxFXBHJ655V4Uvxk6DaSVJHdY4PklYRp45lcfc6P2EJwnktDtuGyR4xHkpuUOa2Rc7wIsnhPlQw1dDlnzETBtSaQ/s1600/LYN-2153-A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1IJOhk2PoQaAsrYgK21Yqh9gMbmgBokc7Lg8Syle-wK85BR6I57-UxFXBHJ655V4Uvxk6DaSVJHdY4PklYRp45lcfc6P2EJwnktDtuGyR4xHkpuUOa2Rc7wIsnhPlQw1dDlnzETBtSaQ/s400/LYN-2153-A.jpg" width="400" /></a></div>
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Last week an eBay seller named 933gone, based in Macclesfield, UK, listed what he called a 'MEGA RARE' copy of the album, with completely different labels to the Apple release. According to him, 'APPLE DECIDED TO CHANGE LABEL FROM LYNTONE TO APPLE. HOWEVER THE LYNTONE LP WAS PRESSED IN A VERY SHORT RUN AND IS, CONSEQUENTLY, EVEN RARER THAN THE APPLE LABEL VERSION. LYNTONE LABELED RECORD WAS GIVEN AWAY TO THE FAN CLUB STAFF, THE APPLE LABELED LPs GIVEN TO FAN CLUB MEMBERS.'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_5Jg-pDd5X9wF5HD055IahKiFyuWawx5rzJtupruQULGsVEXBoRPbT0aUd13a6kaxd8sF_pjBtXUWamuZj9qcfC55J6XuXjb8mWIM7Ol-5PeZgO4BLjLTNXuEcgtIiXU2c5omF-eTgU/s1600/%2524_12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_5Jg-pDd5X9wF5HD055IahKiFyuWawx5rzJtupruQULGsVEXBoRPbT0aUd13a6kaxd8sF_pjBtXUWamuZj9qcfC55J6XuXjb8mWIM7Ol-5PeZgO4BLjLTNXuEcgtIiXU2c5omF-eTgU/s400/%2524_12.jpg" width="400" /></a></div>
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This will of course come as a startling revelation to long-term Beatles collectors. Intrigued, I emailed him to request evidence for the claim. Clearly a busy man, he disregarded that part of my message, but did have time to tell me: 'This is not a bootleg - bootleg versions have brown/beige label - this one is white label... Please look at the popsike site. There you will find the exact same record and label at £220 or 298 EUROS - its not described as a fake. I am an honest bayer - not a dealer.'<br />
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So there we have it - a fascinating artefact for serious Beatles collectors to fight over. No wonder it has already attracted a £200 bid! (PS He has also yet to reply to my contention that the American version of this that he's selling is a blatant counterfeit.)<br />
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com14tag:blogger.com,1999:blog-3367600000263578810.post-39204059747783653052015-07-03T00:56:00.002-07:002015-07-03T01:05:25.347-07:00THE CURIOUS INCIDENT OF CAPTAIN MARRYAT & THE CUTTING LATHE<div dir="ltr" style="text-align: left;" trbidi="on">
On April 16th of this year, an eBay seller named vinyl-network (based in Leicestershire) sold what he described as a BSR DR33M RECORD CUTTER / CUTTING LATHE & TURNTABLE DISC RECORDER, adding that it was a 'STUDIO QUALITY DISC CUTTER IN WORKING ORDER'.<br />
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Here's his description:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2TqBEgyvoNk2fDNDiT0uAY-50G7O11Q8ziqsHi6NF-xRpVxBZvlY1SEf4gpSpZiPR8QKIpRg6Y5yQxznsxV0PF8U7NTY68N-K5iS94sf7fNTva3DhL9m0XwH78zCx4hzQQAh7c_KbiIQ/s1600/Screen+Shot+2015-07-03+at+08.28.09.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2TqBEgyvoNk2fDNDiT0uAY-50G7O11Q8ziqsHi6NF-xRpVxBZvlY1SEf4gpSpZiPR8QKIpRg6Y5yQxznsxV0PF8U7NTY68N-K5iS94sf7fNTva3DhL9m0XwH78zCx4hzQQAh7c_KbiIQ/s640/Screen+Shot+2015-07-03+at+08.28.09.png" width="640" /></a></div>
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Being a thorough sort of chap, he assured interested bidders 'I have tested the lathe and have cut onto acetate disc to test whether it cut OK. Everything works perfectly.' <br />
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Two months later, on June 25th, he sold what he described as 'CAPTAIN MARRYAT RARE 1974 UK Original *MONO MIX* THOR ACETATE PROG PSYCH FOLK'. This listing was subtitled 'Incredibly Rare! Unreleased MONO Mix?? - Scottish Prog'. Here's a photo of that item:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIrJK4yHIW8mCpNo7uwH977mFizdvUfa_FL8S7LzEQqNX3ABPOyM2bNufwGJHPvkCCMv7ZieSSWpELF2FAVsJRi6ZnYwbmyym5GXdM7sLBZ3Xjj83S_66VXrQKi6gYoPPJbjGTg4V9anw/s1600/Screen+Shot+2015-07-03+at+08.30.49.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="582" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIrJK4yHIW8mCpNo7uwH977mFizdvUfa_FL8S7LzEQqNX3ABPOyM2bNufwGJHPvkCCMv7ZieSSWpELF2FAVsJRi6ZnYwbmyym5GXdM7sLBZ3Xjj83S_66VXrQKi6gYoPPJbjGTg4V9anw/s640/Screen+Shot+2015-07-03+at+08.30.49.png" width="640" /></a></div>
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His description reiterated that the acetate was 'extremely rare', and posited that 'in 1974 most mono pressings were or had been phased out by this point however this was probably mixed by request from the band'.<br />
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He could easily have had this conjecture confirmed by contacting some band members. Keyboardist Allan Bryce, who's readily available on Facebook and elsewhere, states: "As far as I know there were no originals that looked like this. It's the first time I have seen this. It's a fake." Bassist Tom Hendry, meanwhile, has this to offer: "It states in the details that the mono mix must have been requested by the band. I know that none of us did that. Definitely looks like a bootleg!"<br />
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Nonetheless, jet-propelled by his claims for its collectability and vintage status, it fetched the remarkable sum of £2249. It's little surprise to see that 'Seller does not offer returns' on this or the other acetates by super-collectible artists he has been selling recently.</div>
Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com4tag:blogger.com,1999:blog-3367600000263578810.post-83614397977410329042014-06-19T06:44:00.002-07:002014-06-26T07:15:28.701-07:00DAVID BOWIE & BOB DJUKIC <div dir="ltr" style="text-align: left;" trbidi="on">
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Bob Djukic is one of the most experienced and successful sellers of rare vinyl on eBay, who - as he puts it - makes a 'good-faith effort to provide only genuine, authentic items'.<br />
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At the moment, however, he is stumped: he is selling what he believes to be 'THE ORIGINAL, AUTHENTIC, FIRST U.K. PRESSING' of David Bowie's <i>Man Who Sold The World</i> LP, and - as such - 'a legitimate, official release'. Unfortunately, as he points out, it has been counterfeited in its time. After what must have been extensive and scholarly research, drawing on his decades of experience in the rare vinyl business, he's billing his item as 'INSANELY RARE', but adding the caveat 'WE ATTEMPTED TO CONFIRM THE GENUINENESS AND AUTHENTICITY OF THIS PRESSING, BUT WE ARE NOT 100% SURE.'<br />
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Of course, were he to list it as a '1980s COUNTERFEIT' it would reach perhaps $50 - that is, if eBay even allowed the auction to proceed. But if the high bidder thinks it's original... well, that sum could easily reach $2000 - and that's not money Bob'll be returning if it does indeed turn out to be fake ('No returns, refunds or exchanges on this item').<br />
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Several people have emailed him, and - being the open, even-handed kind of dealer that he is - the correspondence can be seen at the foot of the listing. Oddly, he tells one correspondent that he has 'no point of reference' as to whether or not this copy is original, though when he sold one in 2011 (as visible on popsike.com) he raised no doubts as to its being authentic, stating: 'THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.K. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING'.<br />
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Posted below is the link to his current auction, and the label for the copy he's selling. Below that is the label to a copy whose authenticity is in no doubt (right down to the well-known 'Tonny Visconti' spelling error that the first batch of UK originals carried, and 'P 1971' test to the left of the label - on Bob's copy it apparently says 'R 1971', in keeping with a blunder on counterfeit copies, though a blemish seems to be making the downstroke of the R look like a P). Either way, it occurs to me that a dealer who's 'NOT 100% SURE' as to whether he's selling a counterfeit or an original of a major rarity can't be expected to know his stuff elsewhere. What do you think?<br />
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http://www.ebay.com/itm/DAVID-BOWIE-MAN-WHO-SOLD-WORLD-ULTRA-RARE-ORIG-UK-LP-WITHDRAWN-DRAG-COVER-/161335258312?pt=Music_on_Vinyl&hash=item259054acc8<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmS0Z2PGZQU6tVQOZOaUSLQv7lwidXz_JFgfJK2yG7P734eNGG9YU1qDKC57U3DYg_SW2iPSOy4d2PBUw7x4Ny0c02iV0XGF9ZUcy9OohPaJZoqjgxylR0sdH5JZR4eNIYVqFnTjyPmF0/s1600/Screen+shot+2014-06-19+at+15.00.00.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmS0Z2PGZQU6tVQOZOaUSLQv7lwidXz_JFgfJK2yG7P734eNGG9YU1qDKC57U3DYg_SW2iPSOy4d2PBUw7x4Ny0c02iV0XGF9ZUcy9OohPaJZoqjgxylR0sdH5JZR4eNIYVqFnTjyPmF0/s1600/Screen+shot+2014-06-19+at+15.00.00.png" height="400" width="396" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtJUZUSIYdHo4BcRlkEDuW5ENZE9x7JtS5UhvmOxC1W9z73GaAvPKzly4jOSqtGTl6JvRE-P2bZmSv0fsr2lEYqzwiv1IPsotonyPeSGk3Qa-QnWpF9gNN-6UE3ktxJtHYcwDgjnOGwT4/s1600/IMG_6005-L.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtJUZUSIYdHo4BcRlkEDuW5ENZE9x7JtS5UhvmOxC1W9z73GaAvPKzly4jOSqtGTl6JvRE-P2bZmSv0fsr2lEYqzwiv1IPsotonyPeSGk3Qa-QnWpF9gNN-6UE3ktxJtHYcwDgjnOGwT4/s1600/IMG_6005-L.jpg" height="178" width="200" /></a><b>UPDATE: </b>The auction has now ended, and Bob raked in an impressive $328.99 for his LP. Despite a blizzard of comments both via eBay and elsewhere online, he stoutly maintained until the end that 'I reserve my judgment on the authenticity of this item'. He substantiated his position by adding that 'Minor variations in color, shade, hue, texture and overall appearance of the covers are not only NOT an aberration in the record-making business, they are absolutely a NORM.' Under further questioning, he would only offer the following: 'I would prefer to neither speculate, nor comment. The item is sold as-is, no guarantees offered or implied.' Quite what evidence he was awaiting whilst he reserved his judgment is impossible to say. In any case, the inescapable conclusion is that any halfway serious dealer who can't tell a counterfeit copy of this album from an original is a joke - and, indeed, this listing has made Bob a laughing stock.<br />
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SECOND UPDATE: the Thin White Djuke has relisted the LP because - in his inimitable words - 'THE PREVIOUS WINNING BIDDER ACTED IN PATENTLY BAD FAITH AND WITH PREMEDITATED INTENTION OF SABOTAGING THE OUTCOME OF THIS SELLER'S PREVIOUS AUCTION'. Because he always acts in good faith, he adds that 'COUNTERFEIT COPIES OF THIS ALBUM ALLEGEDLY EXIST', and that 'IN A HIGHLY UNLIKELY CASE THIS ITEM IS NOT GENUINE, IT COULD STILL HOLD GREAT VALUE FOR THE BOWIE COLLECTOR AS A VERY FINE AND HIGHLY DETAILED AND ELABORATE REPLICA.' He also makes it clear that he will not stand for any further abuse of the sort he received last time around. Unlike selling potentially fake copies of his albums and calling them 'INSANELY RARE', Bob is quite clear that this sort of behaviour 'BRINGS GREAT DISCREDIT TO ANY BOWIE FAN'. Cheers!<br />
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http://www.ebay.com/itm/DAVID-BOWIE-MAN-WHO-SOLD-WORLD-ULTRA-RARE-ORIG-UK-LP-WITHDRAWN-DRAG-COVER/161348373626?_trksid=p2047675.c100005.m1851&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D23772%26meid%3D7892484198372988303%26pid%3D100005%26prg%3D10164%26rk%3D1%26rkt%3D6%26sd%3D351104272352&rt=nc#ht_15130wt_610</div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com10tag:blogger.com,1999:blog-3367600000263578810.post-21408586496778351062014-05-27T05:29:00.002-07:002022-04-23T07:51:15.161-07:00NICK DRAKE: 'a remarkable find' <div dir="ltr" style="text-align: left;" trbidi="on">
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Very little Nick Drake memorabilia has ever surfaced - no signed LPs, no promo photos, no shop posters and no acetates. However, this month an eBay seller named Phil Jones - username pctc01 - listed what he described as 'a remarkable find': the first Drake acetate ever known to exist, let alone reach the market. By way of provenance, he stated that 'the disc was purchased along with a large collection of mid 1960's to 1973 Folk , Rock , Blues LP collection [sic]'.<br />
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While the details he offered were sketchy, he did reveal that it consisted of five tracks: Way To Blue, Three Hours, two that 'I do not recognize' and a brief instrumental that he described as 'a short 3/4 time signature [sic] with the sixth string dropped to D'. He went on to suggest that 'an approximate date for this disc is around 1968 / 1969. By the sound of the disc the tracks are early, but near complete... very clear one mic recording.'<br />
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Clearly used to time-wasters, he concluded his description by stating 'I would prefer to sell to a genuine collector, so any of the usual 'have you got a buy it now' emails from 'dealers' will be ignored. But genuine collectors are very welcome to email questions.' Regarding myself as such, I promptly sent him the following message: 'Hello, what a lovely looking item! I am a serious collector and have a couple of questions: 1) is it 100% definitely a 60s artefact and not a clever fake? 2) can you give any clues as to what the two non-5LL songs might be called? Many thanks.'</div>
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Answer came there none - and no one I know received an answer to similar enquiries. I emailed Nick's delightful sister Gabrielle to see if she remembered the disc. She didn't, and added: 'I cannot quite think of the circumstance that would lead Nick to go into a local Stratford on Avon recording studio, when he was quite proficient and used to recording himself on cassette.'</div>
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In the absence of detailed information, decent-quality images or soundclips from the seller, I did not bid. It ended up fetching £3211. Perhaps the lucky high bidder will share the music on it in due course. Certainly Nick's estate are extremely interested in it, and in any similar acetates that might turn up from the same source. </div>
Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com6tag:blogger.com,1999:blog-3367600000263578810.post-29997525821940612302013-12-20T02:37:00.002-08:002013-12-20T02:37:58.540-08:00THE ORANGE COUNTY THREE<div dir="ltr" style="text-align: left;" trbidi="on">
Attempting to marry the sophistication of <i>Playboy</i> and <i>Esquire</i> to the countercultural appeal of the underground press, <i>Cheetah</i> only managed eight issues (October 1967 to May 1968). It was mocked by the cognoscenti at the time for striving too hard to be hip (worst of all 60s crimes!), but it stands up well. This largely owes to its music articles, such as Jules Siegel’s fabled ‘Goodbye Surfing, Hello God’ interview with Brian Wilson (October 1967) and an interview with Curt Boettcher about the occult (April 1968). In addition, its record reviews by Peter Winkler (including what seems to be the only contemporary assessment of <i>Safe As Milk</i>, which he loved) are among the most perceptive of the period.<br />
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The January 1968 issue included a triple portrait by Tom Nolan of the so-called 'Orange County Three' - Jackson Browne, Tim Buckley and Steve Noonan - who were considered to have equal promise at the vanguard of the emerging confessional singer-songwriter movement. Today, of course, they are respectively a star, a cult hero and a footnote. The article is often referred to, but hasn't been available online before, so here goes.<br />
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com6tag:blogger.com,1999:blog-3367600000263578810.post-11892827315541359562013-11-14T02:08:00.000-08:002013-11-14T02:08:38.569-08:00FLASHBACK Issue #4 <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisGP8YbENXPbeLomlz73JIDtuk-U2IFVih1OtNMjcgNDCCClwkyLXXRE5KxvA2TNe9uybT6Br9q3LGP6xktIgRu0jR3dOye797yQsJ7Vkzj4Ky-1NoBz1biaDJAvbTdWmB1P47_Ps_dCY/s1600/Flashback_Cover_HR.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisGP8YbENXPbeLomlz73JIDtuk-U2IFVih1OtNMjcgNDCCClwkyLXXRE5KxvA2TNe9uybT6Br9q3LGP6xktIgRu0jR3dOye797yQsJ7Vkzj4Ky-1NoBz1biaDJAvbTdWmB1P47_Ps_dCY/s320/Flashback_Cover_HR.jpg" width="228" /></a></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I'm delighted to announce that Flashback #4 will be available as of December 11th, and can be bought <a href="http://www.flashbackmag.com/" target="_blank">here</a>. TREES are on the cover, and the accompanying feature includes full interviews with all the members, as well as several other figures close to the band. Also included are </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">scoops on cult psych bands Mandrake Memorial, July, Fraction and Wilkinson Tri-Cycle,</span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">a powerful memoir by Beverley Martyn of her interrupted musical career and troubled marriage, </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">a jukebox from witch-rockers Blood Ceremony, a personal tour through Peter Eden's many classic productions, part two of Patrick Lundborg's investigation into mono v. stereo mixes, a guide to 'proto-punk' records, 50 intriguing LPs in the notorious Exploito genre, a history of the rare <i>Go</i> newspaper, and in-depth music / book reviews, with rare / unseen images and vintage music paper reprints throughout. Enjoy! </span></div>
Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com1tag:blogger.com,1999:blog-3367600000263578810.post-69802860364477813412013-10-09T04:58:00.003-07:002013-10-09T04:58:56.853-07:00DUNCAN BROWNE Portrait Of The Artist As A Young Man<div dir="ltr" style="text-align: left;" trbidi="on">
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Few hard facts are available about this interesting singer-songwriter, whose debut album, August 1968's <i>Give Me Take You</i>, is one of the rarest of the period. This gratifyingly detailed interview appeared in the first issue of the surpassingly obscure and short-lived British pop journal <i>Strange Days</i> in September 1970, and is reproduced here for the first time. Enjoy!</div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com2tag:blogger.com,1999:blog-3367600000263578810.post-17801724587441607612013-05-15T03:00:00.001-07:002013-05-15T07:04:50.687-07:00FLASHBACK ISSUE #3<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="color: #3d85c6; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 20px;"><span class="Apple-style-span" style="line-height: 17px;"><span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif; font-size: medium;">I'm delighted to announce that Flashback #3 will be available as of May 21st, and can be bought <a href="http://www.flashbackmag.com/buynow/buynow.html" target="_blank">here</a>. </span></span></span><br />
<span class="Apple-style-span" style="color: #3d85c6; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 20px;"><span class="Apple-style-span" style="color: red; font-size: medium;"><span class="Apple-style-span" style="line-height: 17px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span></span></span>
<span class="Apple-style-span" style="color: #3d85c6; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 20px;"><span class="Apple-style-span" style="color: red; font-size: medium;"><span class="Apple-style-span" style="line-height: 17px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Mighty Baby are on the cover, and the accompanying feature includes full interviews with all the members, as well as several other figures close to the band. Also included are a jukebox from Ripley Johnson of Wooden Shjips, a study by Richie Unterberger of the rock memoir industry, Patrick Lundborg on the mono v. stereo question, producer / Harvest boss Malcolm Jones on Syd Barrett and the making of <i>The Madcap Laughs</i>, </span></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; line-height: 17px;">50 Overlooked Singer-Songwriter LPs,</span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; line-height: 17px;"> a history of the rare <i>Top Pops</i> newspaper, and in-depth features on the Common People, Tripsichord Music Box and more, as well as music / book reviews and plenty of rare / unseen images and vintage music paper reprints. Enjoy! </span></span></span></div>
Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com0tag:blogger.com,1999:blog-3367600000263578810.post-14880858509761416492013-02-26T04:02:00.000-08:002013-02-26T04:02:30.351-08:00FLASHBACK #2 in Shindig<div dir="ltr" style="text-align: left;" trbidi="on">
Thanks to Andy Morten for this warm review in the new issue of Shindig.<br />
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com0tag:blogger.com,1999:blog-3367600000263578810.post-3065678998614647952013-02-18T03:39:00.002-08:002013-02-26T04:02:58.554-08:00MARY-ANNE: Me again<div dir="ltr" style="text-align: left;" trbidi="on">
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Issued in 1970, the haunting <i>Me</i> by Mary-Anne is one of the rarest and best British folk albums of its time. I have only ever seen two copies, and rather to my surprise have just realised that they're different. What I assume is the first has the matrix numbers PR JOY S 162 A and PR JOY S 162 B, and textured labels with four rings (below right). The second has the matrix numbers PR JOY S 162 A 2 and PR JOY S 162 B 2, and smooth labels with only one ring (below left). In all other respects (cover included) they are indistinguishable. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg8XQDqXm7zYua6YuGUx9fnlZ_cD0M9RLhRDhojh3IwN_LC-tRCWwlIN-HH5NudAswjCsQi6x3_3e2K2oNuWlxw7Cckab1fXYfNpFlfwSw_GJGFLEUXqm51NnOhxBdJTaKa8HWneLAwuo/s1600/Screen+shot+2013-02-18+at+10.02.07.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg8XQDqXm7zYua6YuGUx9fnlZ_cD0M9RLhRDhojh3IwN_LC-tRCWwlIN-HH5NudAswjCsQi6x3_3e2K2oNuWlxw7Cckab1fXYfNpFlfwSw_GJGFLEUXqm51NnOhxBdJTaKa8HWneLAwuo/s640/Screen+shot+2013-02-18+at+10.02.07.png" width="640" /></a></div>
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Pressing 1 has a subtly different mix, and includes completely different versions of two songs, The Gentleman Soldier and Candyman. Ironically, these are the only weak tracks on the album, their jaunty tone jarring with the prevailing air of restrained melancholy. The former runs 2:39<span class="Apple-style-span"> on Pressing 1 and 3:15 on Pressing 2, while the latter runs 1:45 on Pressing 1 and 3:08 on Pressing 2. In both cases, I consider the Pressing 1 takes to be superior. Not only are they shorter, but they're less theatrical. The</span> Pressing 1 version<span class="Apple-style-span"> </span>of The Gentleman Soldier is pure guitar and voice, while Pressing 2 <span class="Apple-style-span">has a military drum, heavily mannered vocals and some obviously flubbed guitar. T</span><span class="Apple-style-span">he </span>Pressing 1 version of Candyman has flute and simple guitar backing, while Pressing 2<span class="Apple-style-span"> has ragtime guitar, bumptious kazoo and extra words (including unconvincing drug references). I can only assume that the longer versions appeared on Pressing 2 by accident - but of course we'll never know if that's the case, or how / why.</span></div>
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<span class="Apple-style-span">When I licensed the album for reissue on Sunbeam in 2006, President Records provided the master tape. Oddly, the 'wrong' versions of both </span>The Gentleman Soldier and Candyman were on it, meaning that we had to drop in what I assumed to be the 'correct' versions from a vinyl copy. I included the 'wrong' versions as bonus tracks on the CD, little suspecting that they had in fact also been issued at the time. The only evidence for the album's existence that President possessed was the tape - they had no photographs, extra material or original LPs, and the label's boss could cast no light on the variant versions being on the tape. </div>
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If you're interested in Mary-Anne, I've already posted about her <a href="http://galacticramble.blogspot.co.uk/search/label/Mary-Anne" target="_blank"><b><span class="Apple-style-span" style="color: red;">here</span></b></a>. If you haven't come across her, here's the loveliest version of <a href="http://www.youtube.com/watch?v=Vxv2hZfwkjU" target="_blank"><span class="Apple-style-span" style="color: red;"><b>this lovely song</b></span></a> I've yet heard.</div>
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Richardhttp://www.blogger.com/profile/08569712981165789132noreply@blogger.com0