DON COVAY & THE GOODTIMERS Mercy UK PRESS-ONE OF THE FINEST ATLANTIC ALBUMS
$
22
$ 22
Sold For
Mar 19, 2020
Sold Date
Feb 10, 2020
Start Date
1
Number Of Bids
USA
Country Of Seller
eBay
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Description
DON COVAY & THE GOODTIMERS Mercy! UK PRESS-ONE OF THE FINEST ATLANTIC ALBUMS
A MINT MINUS LP ON EDSEL ED 127FROM 1984 A RARE U.K. REISSUE OF HIS SEMINAL 1965 LP
DEEP SOUTHERN SOUL AT ITS BEST!
TRACKS AS SHOWN ON THE LABEL PHOTOS
BACKGROUND INFO FROM ALLMUSIC.COM WEBSITE:
In late 1964, Don Covay, then fronting Don Covay & the Goodtimers, scored a Top 40 hit with "Mercy Mercy." He and the record label decided to capitalize on the unexpected crossover success with this LP, one of the finest soul albums ever to come out of Atlantic Records. Given their first chance to stretch out on ten new tracks at once, Covay and his group (including keyboard man and songwriting collaborator Horace Ott) rose to the occasion and delivered an LP's worth of cuts that were as good as the single they were tied to. In addition to the hit, a gospel-blues amalgam of soulful vocals and bluesy lead guitar (which may be better known today to many listeners by way of the Rolling Stones' version from Out of Our Heads), Mercy! is filled with tracks that are never less than good and mostly a lot better than that: "I'll Be Satisfied," with its memorably passionate singing and crunchy guitar; the thumping dance number "Come on In" -- which, true to its origins, features a compendium of dance step references and nods to then-current hit songs; the gorgeous, falsetto-dominated "Can't Stay Away"; and the mournful, wrenchingly beautiful "You're Good for Me," which is too great a performance by Covay and all concerned to be buried at the end of an LP side. "Can't Fight It Baby" is a lost hit, a spellbindingly beautiful, exciting, and memorable cut that ought to have been a single, if not for Covay and company, then in a version by the 1965-vintage Drifters, who were probably working just down the hall in another studio when this side was cut. Side two is just as good as side one and, indeed, starts out as virtually a repeat of the latter, with "Take This Hurt Off Me" replicating "Mercy Mercy," though it has an unexpected crop of lost singles -- Covay's soaring "Come See About Me," which he'd previously recorded early in 1964 for the Landa label, with its epic-scale lyrical passion, dominates the side, though "You Must Believe Me" and "Daddy Loves Baby" could also certainly have rated a place on a 45-rpm platter. Given the currents rippling out to the Rolling Stones as well as serious soul fans, this record is obviously capable of striking resonant chords 40 years later, but fans of Jimi Hendrix may also want to make special note of Mercy! -- Hendrix played on a number of Covay sessions, and although the records are sketchy, was likely one of the guitarists on "Mercy Mercy" and possibly one or two other songs (the other guitarists present on the album, for the record, were Bob Bushnell, Wally Richardson, Harry Jensen, and Ronald Miller). It's no more significant in relation to Hendrix's later sound than the guitarist's work with the Isley Brothers from the same period, but it is great music that he happened to play on.
THE THIN EURO COVER STOCK WITH LIGHT RUB AND RING WEAR AND AGE DISCOLORATION. CORNERS WITH SMALL ROUGH SPOTS AND OUTER LAYER LOSSES ON POINT. PRICE CODE STICKERS TOP LEFT FRONT (ORANGE OR YELLOW ROUND CIRCLE OVER A WHITE STICKER AND WHICH ARE IMPOSSIBLE TO REMOVE WITHOUT TEARS). NOTWITHSTANDING, A PICTURE IS WORTH A THOUSAND WORDS, SO PLEASE DO LOOK AT THE COVER PHOTOS TO ASCERTAIN COVER CONDITION.
SPINDLE HOLE WITH LIGHT RUB MARKS. THE HIGH LUSTER VINYL BLANK AT FIRST GLANCE OUT OF THE SLEEVE APPEARS UNUSUALLY PRISTINE AND TO HAVE NOT BEEN PLAYED, MUCH LESS TOUCHED, BEFORE NOW. UNDER BRIGHT ANGLED LIGHT AND ASSIDUOUS EXAMINATION A FEW LIGHT SURFACE RUB MARKS AND OR PAPER SLEEVE STORAGE IMPRESSIONS.
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856 (GS 7.0.20 (856))
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