PHIL OCHS ALL THE NEWS 1964 DEBUT LP AUTOGRAPHED

$

200

PHIL OCHS~ALL THE NEWS~1964 DEBUT LP~AUTOGRAPHED!!!

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Label:Elektra Catalog#:EKL 269 Released:1964
RARE ORIGINAL ELEKTRA MONO PRESSING LP FROM THE 1960s. THOUGH THE ACTUAL LP IS NEARING 50 YEARS OF AGE, IT IS IN EXCELLENT CONDITION OVERALL. HEAVYWEIGHT, LAMINATED COVER HAS LIGHT WEAR AND A DENT IN THE LOWER RIGHT CORNER. THE THICK VINYL IS IN EXCELLENT CONDITION WITH A FEW LIGHT SURFACE MARKS/SCRATCHES.
THE ALBUM IS AUTOGRAPHED BY PHIL OCHS IN PEN ALONG THE TOP OF THE BACK COVER. HE HAS WRITTEN "GOOD LEFT-WING LUCK, PHIL OCHS" IN PEN.
OCHS HAS BEEN GONE FOR 35 YEARS AND HIS AUTOGRAPHS ARE EXTREMELY RARE AND HARD TO COME BY.  THERE ARE MANY MORE BOB DYLAN SIGNATURES ON THE MARKET BECAUSE OF THE LONGEVITY OF HIS CAREER AND HIS SURPRISING WILLINGNESS TO SIGN ITEMS.  BY COMPARISON, OCHS' CAREER WAS VERY SHORT - ABOUT 10 YEARS - AND THERE ARE FEW SPECIMENS OF HIS AUTOGRAPH AVAILABLE FOR SALE.
IF YOU ARE A FAN OF THE "FOLK SCARE"  PERIOD, YOU NEED THIS!!!
Tracklist? A1 One More Parade 3:00 A2 The Thresher 2:50 A3 Talking Vietnam 3:38 A4 Lou Marsh 4:04 A5 Power And The Glory 2:15 A6 Celia 3:08 A7 The Bells 3:00 B1 Automation Song 2:08 B2 Ballad Of William Worthy 2:15 B3 Knock On The Door 2:47 B4 Talking Cuban Crisis 2:40 B5 Bound For Glory 3:15 B6 Too Many Martyrs 2:46 B7 What's That I Hear 2:00
Credits? Guitar – Danny Kalb Producer – Jac Holzman Recorded By – Paul A. Rothchild

Phil Ochs is a figure both glorious and tragic who haunts the history of the 1960s folk revival and its aftermath. A topical singer and songwriter in the manner of Lee Hays, Pete Seeger, and Woody Guthrie from the previous generation, he was forever in the shadow of Bob Dylan in terms of the recognition for his music; but unlike Dylan -- who, in retrospect, seemed to approach his work with overpowering facility and talent, but only occasional moments of definable dedication to the causes seemingly behind the songs -- Ochs truly believed in and embraced those causes, which may have been his tragedy. 
In contrast to Dylan, who was an enigmatic media star from 1964 onward -- teasing and even daring the press and public to try and define him -- Ochs embraced the role of ideological outlaw, authoring songs that often stretched (and sometimes ripped) the envelope of acceptable popular political discourse, as well as extending the range and language of folk style music's poetry into new and gloriously rich territory. And what made it even more effective was that he did it with a voice that was so seemingly earnest and unassuming in its appeal. He may never have written anything as widely known as "Blowing in the Wind," "A Hard Rain's a-Gonna Fall," or "Mr. Tambourine Man," but he angered people across the country (and in Mississippi, for other reasons) with "Here's to the State of Mississippi"; roused those who heard them with "The Power and the Glory" (a worthy successor to Guthrie's "This Land Is Your Land") and "I'm Not Marching Anymore"; and moved many thousands to a fresh round of tears about President Kennedy with "Crucifixion." And for all of his outlaw reputation -- which began coalescing around him as early as 1965 in some "respectable," establishment circles -- his work ended up infiltrating high school classrooms through the songs "The Highwayman" and "The Bells," the latter an extraordinarily early intersection between folk song and art song. Eventually he too would follow Dylan into electric music and more personal, abstract, and romantic compositions. But Ochs had something extra, even in those years: street cred, among the people who cared -- where Dylan, due to his own calculation and the repercussions of various personal situations, spent much of the late '60s as an enigmatic recluse, respected for his identity and his songs but rather unknowable and totally remote as a presence, Ochs was in Chicago for the 1968 Democratic National Convention, when thousands of young citizens (supported by a few brave politicians) took to the streets to scream "Enough!" about the Vietnam War, and were brutally suppressed by the police under orders from the city's mayor; he even ended up as a witness at the subsequent conspiracy trial of the seven alleged conspirators behind the demonstration. And no matter how far his style advanced, and how complex his songwriting became, he never abandoned this kind of involvement with issues. Apart from American involvement in the Vietnam War, which dragged on into the mid-'70s, he saw many of the causes that he cared about move toward some measure of fulfillment as the 1970s dawned; but personal problems, including clinical depression and alcoholism, left him drained, psychologically and musically. By the middle of the decade he found there was nothing left inside, and he finally died by his own hand in 1976. It was only after his tragic tailspin and eventual death that he was properly appreciated as one of the most sincere and humane songwriters of his day, whether detailing political atrocities or more poetic concerns. 
By the end of the 1950s, the transformation was complete -- Phil Ochs, the admirer of John Wayne and Audie Murphy (the most decorated American soldier of the whole Second World War), was leading protests on campus against mandatory ROTC training. Ochs moved from Ohio to New York in the early '60s and was soon a prolific writer of the topical, left-leaning protest songs then in vogue. His initial recording efforts, heard on compilations for Broadside, Folkways, and Vanguard (which recorded him at the Newport Folk Festival), were rather dry and instantly dated, though they did show considerable passion and earnestness, and more facility with language and music than a lot of what else was flowing out of the underground of the folk boom. By the time made his Elektra Records debut in 1964 with All the News That's Fit to Sing (the title a stinging pun on The New York Times's front-page legend, "All The News That's Fit to Print"), Ochs was finding his own voice -- narrow in range but more melodic than Dylan (if not as lyrically innovative), its strident accusations tempered by a warm delivery and underlying compassion. With second guitar by Danny Kalb (later of the Blues Project), his first album was highlighted by "Power and the Glory" and "Bound for Glory," as well as an adaptation of Edgar Allan Poe's "The Bells."  -- All Music Guide
The image included with the auction is a scan of the actual item but, due to size limitations of the scanner, the edges of the item may have been cropped. 

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MINT = like new or near new with only one or two small insignificant defects, a 9 or better on a 1-10 scale

EXCELLENT = Would be Near Mint, except for a couple of light hairlines or scuffs, which do not affect play

VG++ = still a very nice record with all or nearly all of its original gloss but may have a few more light, surface marks, hairlines, needle tracks or the like which should not materially affect play

VG+ = a nice, but used record that may have a series of light scuffs or scratches. It probably plays with a few pops, but has no serious problems.

VG = a well-used record that still should sound OK when played, but may have moderate surface noise, pops, etc.

VG- = a very well-worn record that plays through without skipping, but will do until a better copy comes along.

Good = not actually good at all but probably will play through but with much in the way of surface noise, pops, crackles, etc. Still, will have no cracks, chips or the like

Fair = you’re getting this record just to own but not to play

Poor = the sky’s the limit, generally I will discard a record this bad (and sell the cover, jacket or sleeve alone) unless the label holds some particular interest

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