NICK DRAKE BRYTER LAYTER ORIG PINK RIM ISLAND LP UK TEXTURED COVER A-1U/B-1U

$

456

Here is a RARE! EXCELLENT PLUS! copy of the NICK DRAKE LP titled BRYTER LAYTER. It is an ORIGINAL! UK 1st pressing on the “PINK RIM” ISLAND label, catalog #ILPS 9134 in STEREO sound from 1970. The vinyl is in EXCELLENT PLUS! condition, shiny and black, with excellent playback. The ORIGINAL TEXTURED cover is in EXCELLENT PLUS! condition with light corner bends, light corner and edge wear. It is a RARE! and beautiful EXCELLENT PLUS! LP for you to own. It is an opportunity to purchase this RARE! LP of NICK DRAKE. It’s a true gem for the FOLK-ROCK collector!! Email me with any questions and be sure to look at the pic’s. I DO NOT ACCEPT BIDS FROM OR MAIL TO SOUTH AMERICA, SOUTH AFRICA, ITALY & OTHER COUNTRIES. IF YOU ARE NOT FROM THE USA CONTACT ME BEFORE BIDDING! INSURANCE WILL BE REQUIRED-WAIT FOR INVOICE!!! International bidders can email me for shipping rates. SHIPPING IN THE US IS $5.00 for MEDIA MAIL (IT IS NOT $4.00). US BUYERS PLEASE WAIT FOR INVOICE! Thanks for Looking & Good Luck!

Music Review from AllMusic.com by Ned Raggett

With even more of the Fairport Convention crew helping him out -- including bassist Dave Pegg and drummer Dave Mattacks along with, again, a bit of help from Richard Thompson -- as well as John Cale and a variety of others, Drake tackled another excellent selection of songs on his second album. Demonstrating the abilities shown on Five Leaves Left didn't consist of a fluke, Bryter Layter featured another set of exquisitely arranged and performed tunes, with producer Joe Boyd and orchestrator Robert Kirby reprising their roles from the earlier release. Starting with the elegant instrumental "Introduction," as lovely a mood-setting piece as one would want, Bryter Layter indulges in a more playful sound at many points, showing that Drake was far from being a constant king of depression. While his performances remain generally low-key and his voice quietly passionate, the arrangements and surrounding musicians add a considerable amount of pep, as on the jazzy groove of the lengthy "Poor Boy." The argument could be made that this contravenes the spirit of Drake's work, but it feels more like a calmer equivalent to the genre-sliding experiments of Van Morrison at around the same time. Numbers that retain a softer approach, like "At the Chime of a City Clock," still possess a gentle drive to them. Cale's additions unsurprisingly favor the classically trained side of his personality, with particularly brilliant results on "Northern Sky." As his performances on keyboards and celeste help set the atmosphere, Drake reaches for a perfectly artful reflection on loss and loneliness and succeeds wonderfully.