JACK BRUCE (CREAM) w/JOHN McLAUGHLIN THINGS WE LIKE RARE ORIG 1971 ATCO LP MINT

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116

    
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·       JACK BRUCE (WITH JOHN McLAUGHLIN, JON HISEMAN AND DICK HECKSTALL-SMITH) – THINGS WE LIKE – ORIGINAL 1970 ATCO RECORDS STEREO LP SD-33-349

·       ORIGINAL U.S. PRESSING

·       ORIGINAL YELLOW ATCO LABEL WITHOUT WEA LOGO ALONG THE LABEL’S EDGE AND WITH BROADWAY, NY ADDRESS (LATE 60’s STYLE)

·       The record has a George Piros’ name or  his initials (GP) clearly stamped or hand-etched in the trail-off vinyl (dead wax)

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

 (►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you'll get.  GUARANTEED!)

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Enthusiasts expecting to hear a continuation of the type of material that Jack Bruce (bass) had been responsible for during his tenure(s) with Cream or the Graham Bond Organisation might be in for quite a shock when spinning Things We Like (1970) for the first time. Instead of an album's worth of blues-based rockers, the seven instrumentals feature Bruce with other former Graham Bond stablemates John McLaughlin (guitar), Jon Hiseman (drums), and Dick Heckstall-Smith (sax) performing post-bop and free jazz. A majority of the compositions were penned by Bruce in his preteen days of formal scholarship at the Royal Scottish Academy of Music, where he also mastered the cello and composed a string quartet at the age of 11. After having gained significant clout from Cream, Bruce assembled what was initially a trio. However, after a chance meeting with McLaughlin -- who was so broke he had to refuse an offer to fly stateside to join the newly formed Tony Williams Lifetime -- Bruce incorporated the guitarist into the fold in order to help him finance his journey, which was ultimately successful. The entire effort was recorded and mixed in less than a week during August of 1968 -- less than three months prior to the infamous Farewell Concert of Cream at the Royal Albert Hall on November 26, 1968.

As a testament to Bruce's expansive musical tastes, capabilities, and horizons, this disc sounds more like a collection of Rahsaan Roland Kirk sides than anything even remotely connected with Cream. This is especially true of the frenetic pacing of the brief opener, "Over the Cliff." Heckstall-Smith's ability to perform alto and soprano saxophone simultaneously likewise lends itself to Kirk's distinct reed polyphony. "Statues" is an interesting exercise, again with Heckstall-Smith providing some excellent extemporaneous blows during the darkly toned introduction working well against the nimble melody. While Hiseman's style is decidedly less aggressive than that of Ginger Baker, his drumming helps to amalgamate the song's various sections. McLaughlin's unmistakably sinuous leads are commanding throughout the "Sam Enchanted Dick" medley, with a cover of Milt Jackson's "Sam's Sack" and a Heckstall-Smith original titled "Rills Thrills." The tempo is slowed on the smoky cover of Mel Tormé's "Born to Be Blue." This interpretation is part West Coast cool and part Chicago-style blues. McLaughlin's contributions to "HCKHH Blues" is similar to that of Robert Fripp's jazzy fretwork throughout the Islands (1971) era King Crimson. While it was the first of Bruce's solo records to be recorded, he chose to issue the more rock-oriented Songs for a Tailor (1969) prior to Things We Like, which was perhaps considered an indulgent side project rather than a permanent musical diversion.

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

For additional historical or discography information on this album, including track listing ►click here

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·                               CONDITION:

·                               RECORD

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL  AS  NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs -  are (barely) visible, but are probably inaudible,  and do not affect visual integrity or beauty of the vinyl. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

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

(c)             The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(d)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER

COVER IS STONE MINT, STILL IN ITS ORIGINAL ►SHRINK WRAP  AND NOTHING SHORT OF ABSOLUTE PERFECTION, WITHOUT EVEN A HINT OF A FLAW OR DEFECT; A KIND OF BEAUTY YOU ONLY GET TO SEE ONCE IN A LIFETIME.

NO IMPERFECTIONS ON THE COVER:

-        No split seams

-        No ring wear

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No wrinkles or creases

-        No yellowing from aging

-        No writing

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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