Archive for the '1960’s' Category

WANDA JACKSON The Party Ain’t Over LP FUSCHIA VINYL!!!!

12” vinyl record, this is the ultra rare FUSCHIA vinyl version (only 100 made). Includes large booklet and awesome poster.
CONDITION: Vinyl and sleeve look great! Only Played Once! NM

 

US $271.11

This is a Greeting Card gate fold, a song plays when you open the record, it also includes the limited edition Hatch Show print, both limited to 1,000. ** LIMITED EDITION OF 100 ON FUCHSIA COLORED VINYL ** Released by Third Man records, Wanda plays with the 3rd Man band and Jack White plays on just about every song on the record. Wanda Lavonne Jackson (born October 20, 1937) is an American singer, songwriter, pianist and guitarist who had success in the mid-1950s and 60s as one of the first popular female rockabilly singers and a pioneering rock and roll artist. She is known to many as the Queen (or First Lady) of Rockabilly. Jackson mixed country music with fast-moving rockabilly, often recording them on opposite sides of a record. As rockabilly declined in popularity in the mid-1960s, she moved to a successful career in mainstream country music with a string of hits between 1966 and 1973, including “Tears Will Be the Chaser for Your Wine”, “A Woman Lives for Love” and “Fancy Satin Pillows”. She has enjoyed a resurgence of popularity among rockabilly revivalistsin Europe, and was inducted into the Rock and Roll Hall of Fame as anEarly Influence in 2009.

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IRON BUTTERFLY “Ball” 12″ LP Vinyl Record ATCO 1969

IRON BUTTERFLY “Ball” 12″ LP Vinyl Record ATCO 1969
CONDITION: Great condition. Light to medium surface wear on sleeve. Vinyl looks great! VG-

US $7.99

The band formed in 1966 in San Diego and released their debut album Heavy in 1968 after signing a deal with ATCO, an Atlantic Records subsidiary. The original members were Doug Ingle (vocals, keyboards), Jack Pinney (drums), Greg Willis (bass), and Danny Weis (guitar). They were soon joined by singer/frontman Darryl DeLoach.

Jerry “The Bear” Penrod and Bruce Morris replaced Willis and Pinney after the band relocated to Los Angeles in 1966 and Ron Bushy then came aboard when Morris’ tenure proved to be a short one. All but Ingle and Bushy left the band after recording the first album in late 1967; the remaining musicians, faced with the possibility of the record not being released, quickly found replacements in bassist Lee Dorman and guitarist Erik Brann (aka Erik Braunn) and resumed touring.

Weis and Penrod went on to form the group Rhinoceros.

The 17-minute “In-A-Gadda-Da-Vida”, the title track of their second album, became a Top Thirty hit in the US and made the number 9 spot on the Dutch Top 40. (Doug Ingle is reported to have said the title was an alcohol-slurred version of “In the Garden of Eden”, although this may be apocryphal; see the song’s page.) The members when In-A-Gadda-Da-Vida was recorded were Doug Ingle (keyboards and vocals), Lee Dorman (bass guitar), Ron Bushy (drums), and 17-year-old Erik Brann.

Ball is the third studio album by the rock band Iron Butterfly, released in February 1969. After the enormous success of “In-A-Gadda-Da-Vida”, Iron Butterfly modified its acid-rock sound somewhat and experimented with shorter, more melodic compositions. The band’s trademark heavy guitars, however, are still evident on such tracks as “In the Time of Our Lives” and “It Must Be Love.” The album reached number 3, making Ball more immediately successful than In-A-Gadda-Da-Vida. Ball was certified Gold by 1969. In 1999, Collector’s Choice Music released Ball with two bonus tracks, I Can’t Help But Deceive You Little Girl and To Be Alone, which before this release, was only available on a 7 inch single format.

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KAWAIDA “Kuumba-Toudie Heath” 12″ LP Vinyl Trip Jazz Records

KAWAIDA “Kuumba-Toudie Heath” 12″ LP Vinyl Trip Jazz Records
CONDITION: Good condition. Medium surface wear on sleeve. Vinyl looks very nice. VG-

US $8.00

A super-hip batch of soul jazz tracks by Albert Toodie Heath of the Heath Brothers – working here on a rare session as a leader, with a sound that’s right up there with the Heath Brothers’ early work for Strata East!! The lineup is incredible – as Heath is joined by players that include Don Cherry, Buster Williams, Mtume, Herbie Hancock, Jimmy Heath, and Ed Blackwell – all coming together for a session that’s nearly lost to the history books, but which is one of the strongest spiritual jazz sessions of the late 60s! Herbie plays all acoustic piano throughout, and the tracks are long, leaping, and loping – with stretched-out spiritual solos from Jimmy Heath and Don Cherry – and a proud and righteous sound that’s extremely free-spirited without going too far out! Titles include “Baraka”, “Maulana”, “Dunia”, and “Kamili”.  © 1996-2010, Dusty Groove America, Inc.

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JEREMY STEIG “Legwork” 12″ LP Vinyl Solid State Records

JEREMY STEIG “Legwork” 12″ LP Vinyl Solid State Records
CONDITION: Good condition. Light surface wear on sleeve and vinyl. VG

US $27.00

Jeremy Steig, (September 23, 1942), the son of New Yorker cartoonist William Steig, is notable as one of the few jazzflutists playing flute exclusively, as opposed to doubling from other woodwinds.
At age 19 Steig was involved in a motorcycle accident which left him paralyzed on one side. For some years afterward, he played the flute with the help of a special mouthpiece.
After a start in mainstream jazz, with albums with Bill Evans and Denny Zeitlin, Steig became an early force in the jazz-rock fusion experiments of the late 1960s and early 70s, including the short lived band Jeremy and the Satyrs, featuringWarren Bernhardt, Eddie Gomez and Adrian Guillary. Steig’s album Energy, later re-released with additional material under different titles, featured keyboard player Jan Hammer and bassist Eddie Gomez, and was recorded at Electric Lady Studios under the hand of sometime Jimi Hendrix engineer Eddie Kramer. Additionally, Steig played flute on the seminalPeter Walker record “Rainy Day Raga”, providing an atmospheric color essential to the records fusion of Eastern Indian and Americana Folk traditions.
Steig addressed the tonal color restrictions of the instrument by the use of “modern” acoustic techniques (voice multiphonics and overtones similar to Rahsaan Roland Kirk, key percussion) electronic effects, and by using the entire battery of flute-family instruments, from piccolo to bass flute (including the obscure Sousa-era alto piccolo), often over-dubbed and multi-tracked together.
His song Howlin’ For Judy from his 1970 album “Legwork” is the source of the main sample in the 1994 Beastie Boys’ single “Sure Shot”.
Steig performs the role of “The Pied Piper,” exclusively on flute, in the film Shrek: Forever After, based on the character created by his father.

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SUN RA and his Astro Infinity Arkestra “Atlantis” 12″ LP Vinyl Record

SUN RA and his Astro Infinity Arkestra “Atlantis” 12″ LP Vinyl Record
CONDITION: Great condition. Like New. VG++ to NM

US $12.49

Atlantis is an album by Jazz musician Sun Ra and his Astro-Infinity Arkestra released in 1969.

The album heavily features the “Solar Sound Instrument” – a Hohner Clavinet. One of the 4 compositions which originally featured on Side 1 of the original release was substituted by a different piece for the 1973 reissue, though reusing the same name, “Yucatan”. Both pieces appear on the later CD reissue.

The title track covered the second side of the LP and is regarded as a key prototype for Sun Ra’s performances through the 1970s.  It was recorded at a 1967 concert at the Olatunji Center of African Culture in New York and has been described as “a masterpiece that twists and turns through many soundscapes”.

‘[The title track Atlantis is] one of Ra’s most epic pieces, which is free or “space” jazz at its most invigorating. While virtually indescribable, the sonic churnings and juxtaposed images reveal a brilliant display of textures and tonalities set against an ocean of occasional rhythms. Its diversity alone makes this is an essential entry in the voluminous Sun Ra catalog.’ Lindsay Planer

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PERREY & KINGSLY “Kaleidoscopic Vibrations – Electronic Pop Music From Way Out” 12″ LP Vinyl Vanguard Records 1967

PERREY & KINGSLY “Kaleidoscopic Vibrations – Electronic Pop Music From Way Out” 12″ LP Vinyl Vanguard Records 1967
CONDITION: Great condition. Like New, small hole in upper left sleeve. VG++ to NM

US $11.99

Their second and final collaborative effort came in 1967 with the release of Kaleidoscopic Vibrations: Spotlight on the Moog. This was a similar sounding effort, but instead of all original compositions, the album was mostly versions of popular songs of the day. In this album, Perrey’s tape loops and effects were added in post-production after Kingsley’s orchestrations were recorded, a technique now commonly used by electronic artists to this day. The album was one of the first to use the new Moog modular synthesizer, a massive, complicated electronic instrument resembling an old-style telephone switchboard. The album also bore two notable singles. In fact, the Moog album was released a year and a half before the release of Wendy Carlos’ ground-breaking Switched-On Bach. “The Savers” would go on to fame in 1968 as the Clio Award-winning music for a television ad for No-Cal diet drinks, and in 1972 as the theme to the American television game show “The Joker’s Wild”. About the time “The Savers” was being used on television, engineers with the Walt Disney Company were at work on a new parade at Disneyland Park, the “Main Street Electrical Parade.” The idea was to cover floats with thousands of electronically-controlled colored lights and to set the show to music. Paul Beaver and then later Disney musician Don Dorsey helped rework a Perrey-Kingsley composition called “Baroque Hoedown,” an upbeat, almost sparkling number best described as “harpsichord gone country.” It would become the underlying theme song of the parade for the next three decades at Disneyland, Magic Kingdom, Tokyo Disneyland, Disneyland Paris, Disney’s California Adventure Park and is still in use today at Magic Kingdom.

Several segments of Sesame Street produced in the 1970s also made use of music from The In Sound from Way Out, as did other television programs, such as “The Red Skelton Show.” A skit from the October 23, 1979 airing of Saturday Night Live titled “Jeopardy! 1999” used “Unidentified Flying Object” as the opening and closing themes.

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FORBIDDEN PLANET Original MGM Soundtrack 12″ Gatefold LP Vinyl Comet Records

FORBIDDEN PLANET Original MGM Soundtrack 12″ Gatefold LP Vinyl Comet Records
CONDITION: Great condition. Like New, light crease in upper right corner. VG++ to NM

US $20.50

Forbidden Planet’s innovative electronic music score (credited as “electronic tonalities” – partly to avoid having to pay any of the film industry music guild fees – was composed by Louis and Bebe Barron. The MGM producer Dore Schary discovered this couple quite by chance at a beatnik nightclub in Greenwich Villagewhile on a family Christmas visit to New York City. Schary hired them on the spot to compose his film’s musical score. The theremin (which was not used inForbidden Planet) had been used as early as 1945, in the movie Spellbound, but the Barron’s score is widely credited with being the first completely electronicscore. This soundtrack preceded invention of the Moog synthesizer (1964) by eight years.

Using ideas and procedures from the book, Cybernetics: Or, Control and Communication in the Animal and the Machine (1948) by the mathematician and electrical engineer Norbert Wiener, Louis Barron constructed his own electronic circuits that he used to generate the “bleeps, blurps, whirs, whines, throbs, hums, and screeches”.

Most of these sounds were generated using an electronic circuit called a “ring modulator”. After recording the basic sounds, the Barrons further manipulated the sounds by adding other effects, such as reverberation and delay, and reversing or changing the speeds of certain sounds.

Since Louis and Bebe Barron did not belong to the Musicians Union, their work could not be considered for an Academy Award – in either the “soundtrack” or the “sound effects” categories – that year. Curiously, MGM declined to publish a soundtrack album at the same time that this film was released. However, movie composer and conductor David Rose published a 7″ (8 cm) single of his original main title theme. He had recorded this at the MGM Studios in Culver City during March 1956. This movie theme had been discarded when Rose, who had originally been hired to compose the musical score in 1955, was discharged sometime between Christmas 1955 and New Year’s Day by Dore Schary.

The soundtrack was finally released on a vinyl LP album by the Barrons for the film’s 20th anniversary in 1976, on their own PLANET Records label (later changed to SMALL PLANET Records and distributed by GNP Crescendo Records). The LP was premiered at MidAmeriCon, the 34th World Science Fiction Convention, held in Kansas City, MO over the Labor Day weekend that year, as part of a 20th Anniversary celebration of the film at that Worldcon. A decade later, it was released on a music CD in 1986 for the film’s 30th Anniversary, with a six-page color booklet containing images from Forbidden Planet, plus liner notes from the composers, Louis and Bebe Barron, and Bill Malone.

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