Janis Joplin "Pearl" Australian Pressing, CBS Records ORIGINAL 1ST PRESSING 1971

	A$		39
	$		26

Janis Joplin "Pearl" Australian Pressing, CBS Records ORIGINAL 1ST PRESSING 1971
ITEM: VINYL 12” LP 33 1/3rpm
ARTIST: JANIS JOPLIN / FULL TILT BOOGIE
TITLE: Pearl
COUNTRY PRINTED:  AUSTRALIA
CAT No: CBS, KC 30322
ORIGINAL 1ST PRESSING
COVER: (Grade at EXCELLENT - NM) 
LABELS: (Grade at EXCELLENT - NM)
VINYL: (Grade at EXCELLENT - NM)
NO CLICKS, NO BACKGROUND NOISE, NO JUMPS, NO SKIPS, PLAYS NEAR PERFECT.
TRACKS:
    1 -Move Over -Joplin
    2 -Cry Baby -Berns, Ragovoy
    3 -A Woman Left Lonely -Oldham, Penn  
    4 -Half Moon -Hall, Hall  
    5 -Buried Alive in the Blues -Gravenites  
    6 -My Baby -Ragovoy, Shuman  
    7 -Me and Bobby McGee -Foster, Kristofferson  
   8 -Mercedes Benz -Joplin, McClure, Neuwirth
   9 -Trust Me -Womack  
   10 -Get It While You Can -Ragovoy, Shuman  

COMMENT:
 Review: by Steve Huey
Janis Joplin's second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out. Thanks also to a more consistent set of songs, the results are magnificent — given room to breathe, Joplin's trademark rasp conveys an aching, desperate passion on funked-up, bluesy rockers, ballads both dramatic and tender, and her signature song, the posthumous number one hit "Me and Bobby McGee." The unfinished "Buried Alive in the Blues" features no Joplin vocals — she was scheduled to record them on the day after she was found dead. Its incompleteness mirrors Joplin's career; Pearl's power leaves the listener to wonder what else Joplin could have accomplished, but few artists could ask for a better final statement.

  Biography: by Richie Unterberger
The greatest white female rock singer of the 1960s, Janis Joplin was also a great blues singer, making her material her own with her wailing, raspy, supercharged emotional delivery. First rising to stardom as the frontwoman for San Francisco psychedelic band Big Brother & the Holding Company, she left the group in the late '60s for a brief and uneven (though commercially successful) career as a solo artist. Although she wasn't always supplied with the best material or most sympathetic musicians, her best recordings, with both Big Brother and on her own, are some of the most exciting performances of her era. She also did much to redefine the role of women in rock with her assertive, sexually forthright persona and raunchy, electrifying on-stage presence.

Joplin was raised in the small town of Port Arthur, TX, and much of her subsequent personal difficulties and unhappiness has been attributed to her inability to fit in with the expectations of the conservative community. She'd been singing blues and folk music since her teens, playing on occasion in the mid-'60s with future Jefferson Airplane guitarist Jorma Kaukonen. There are a few live pre-Big Brother recordings (not issued until after her death), reflecting the inspiration of early blues singers like Bessie Smith, that demonstrate she was well on her way to developing a personal style before hooking up with the band. She had already been to California before moving there permanently in 1966, when she joined a struggling early San Francisco psychedelic group, Big Brother & the Holding Company. Although their loose, occasionally sloppy brand of bluesy psychedelia had some charm, there can be no doubt that Joplin -- who initially didn't even sing lead on all of the material -- was primarily responsible for lifting them out of the ranks of the ordinary. She made them a hit at the 1967 Monterey Pop Festival, where her stunning version of "Ball and Chain" (perhaps her very best performance) was captured on film. After a debut on the Mainstream label, Big Brother signed a management deal with Albert Grossman and moved on to Columbia. Their second album, Cheap Thrills, topped the charts in 1968, but Joplin left the band shortly afterward, enticed by the prospects of stardom as a solo act.

Joplin's first album, I Got Dem Ol' Kozmic Blues Again Mama!, was recorded with the Kozmic Blues Band, a unit that included horns and retained just one of the musicians that had played with her in Big Brother (guitarist Sam Andrew). Although it was a hit, it wasn't her best work; the new band, though more polished musically, was not nearly as sympathetic accompanists as Big Brother, purveying a soul-rock groove that could sound forced. That's not to say it was totally unsuccessful, boasting one of her signature tunes in "Try (Just a Little Bit Harder)."

For years, Joplin's life had been a roller coaster of drug addiction, alcoholism, and volatile personal relationships, documented in several biographies. Musically, however, things were on the upswing shortly before her death, as she assembled a better, more versatile backing outfit, the Full Tilt Boogie Band, for her final album, Pearl (ably produced by Paul Rothchild). Joplin was sometimes criticized for screeching at the expense of subtlety, but Pearl was solid evidence of her growth as a mature, diverse stylist who could handle blues, soul, and folk-rock. "Mercedes Benz," "Get It While You Can," and Kris Kristofferson's "Me and Bobby McGee" are some of her very best tracks. Tragically, she died before the album's release, overdosing on heroin in a Hollywood hotel in October 1970. "Me and Bobby McGee" became a posthumous number one single in 1971, and thus the song with which she is most frequently identified.
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MINT (M)

That means that the record is in brand new condition with no surface marks or deterioration in sound quality. The sleeve and any extra items are in perfect condition.

NEAR MINT (NM)

The record has been on a shelf between other records. The vinyl looks glossy and clearly has only been played a few times. There are no marks on the vinyl and the whole package is complete.

EXCELLENT (EX)

The record shows signs of having been played but there is no negligible loss in sound quality. The sleeve may have slight wear or creasing.

VERY GOOD (VG)

The record has been played many times but shows no significant deterioration in sound quality, despite noticeable surface marks. Sleeve has normal wear and tear without any major defects.

GOOD (G)

The record has been played enough that the sound quality has deteriorated noticeably and may have pops and skips. The sleeve may suffer from scuffs, spine splits, ring wear and/or discolouration.

FAIR (F)

The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump. The cover and contents will be torn, stained and / or defaced.

POOR (P)

The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.

White label

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