RED CRAYOLA PARABLE OF ARABLE LAND ULTRA-RARE ORIG 1967 INT'L ARTS PSYCH LP MINT

$

126

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·       RED CRAYOLA (with the THIRTEENTH FLOOR ELEVATORS!!!) – PARABLE OF ARABLE LAND - (THE GROUP’S FIRST STUDIO ALBUM) - ORIGINAL 1967 INTERNATIONAL ARTISTS STEREO LP  IALP # 2

·       ORIGINAL U.S. PRESSING

·       TURQUOISE (AQUA-BLUE) INTERNATIONAL ARTISTS LABEL WITH GLOBE LOGO AND SILVER PRINT (NO OTHER STOCK LABELS EXIST)

·       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)

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1B/-1B'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)

 (►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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THE STORY OF ‘PARABLE OR ARABLE LAND’ OR: “HOW A DEAD PARAKEET CHANGED THE COURSE OF ROCK MUSIC”

“Few rock bands have been accused of killing a dog with sound alone. Probably fewer still would claim the death of a parakeet got them their first break in the music business. Not so Mayo Thompson's Red Krayola.

Though the band initially folded decades ago after the manager of a venue begged, then paid them to stop playing, they survived to become one of the world's most enduring underground acts thanks to a career built on a record made for $600 in 1967.

Dismissed by most critics upon its release according to Thompson, "The Parable of Arable Land" has since been hailed as one of the groundbreaking records of the 1960s.

"We crawled out on a limb and found ourselves alone," Thompson told Reuters in an interview. "The origin of the whole thing is that record. Knowing what I know now about music, I'm not sure I'm capable of conceiving something like that again."

The trio initially known as Red Crayola, with Thompson on guitar and vocals, bassist Steve Cunningham and Rick Barthelme on drums, set out to stretch the limits of music on their debut, he said after a concert in Vienna on Tuesday.

Their first LP featured a handful of songs interwoven with the band's signature sound called Free Form Freak-Outs -- random blasts of sound cut with the aid of the Familiar Ugly, a motley troupe of followers that included bikers and college students.

The Texans' unusual approach was not confined to the studio.

Live, they were abetted by a "rhythm machine" made of an ice block suspended over a hot grill that dripped a beat down onto tin foil rigged to a speaker. A turntable cranked up to the max with the needle gouging the rubber was another favorite.

PAID TO STOP

The internet has exposed the band to a new generation of followers and critics, and "Parable" is increasingly seen as a unique statement in experimental rock.

Modern reviews of the LP that was "recorded in a night and maybe two days" Thompson said, show why it remains an enigma 40 years on.

"It's a mind-milkshake where everyone's friends are dead in abscesses of lunatic incompetence at an epic pitch of stoner rock doom," online music site Pitchfork Media said, awarding the psychedelic opus one of its top ratings.

The eerie mix of garage rock, abstract lyrics and Freak-Outs was not recorded "under the influence," Thompson said. But it was inspired by everything from Frank Sinatra and saxophonist Albert Ayler to buckets hanging on the studio wall that Thompson sang about after running out of words for the opening track.

The LP also came to the attention of The Beatles, and was so unorthodox even John Peel, the late British DJ renowned for his eclectic taste, couldn't wait to turn it off, Thompson added

"Peel didn't like us," he said. "His contribution to popular music is boundless. But I always wore it as a badge of honor."

Despite its detractors, the original pressing sold out, attracting the attention of promoters in California, who invited the band to play in the 1967 Berkeley Folk Festival.

By then the group -- which became 'Krayola' when the makers of Crayola crayons sued over the name -- had given up playing songs and was devoting its energy to ear-splitting feedback.

This did not prove a recipe for commercial success.

"I played sounds in those days I never heard. I could feel them going through my eyelids but I have no idea what they sounded like," said Thompson, who now lives in California, but spent much of the past 30 years in Europe, latterly Edinburgh.

In Berkeley, a man told the band "that noise you're making killed a dog," before guitarist John Fahey landed them a gig at the New Orleans House, "a sort of supper club," Thompson said.

"We cleared the joint in about three minutes. The manager came wringing his hands saying, 'please, please, I'll pay you to stop,'" he added. "We hadn't done it for the money anyway."

This proved the end of the initial combo's live career -- just a year after they were discovered at a "battle of the bands" in a Houston shopping mall by local record producer Lelan Rogers, brother of U.S. country music star Kenny Rogers.

"He told us he'd gone to buy a parakeet for his wife because 'the parakeet had died,'" Thompson said.

Thompson and Cunningham released a second album of stripped down, minimalist songs in 1968 before the band called it quits. A decade later, Thompson resurrected the Red Krayola, which has continued in a variety of line-ups up to the present day.

"The band has always been a sort of project: tentative, tenuous and trouble. It comes together when it can," Thompson said. "We have a career by cumulative default."

 (EXCERPT FROM AN ONLINE ARTICLE BY DAVE GRAHAM, REUTERS.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 EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)            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!

(c)           The record comes in a hi-grade MFSL PVC inner sleeve, which has - apparently with success - shielded the record from the harmful impact of elements over many years!

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

·       COVER

THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD+++.

The following flaws or imperfections are noted on the cover:

-         Cover has a minor 'bump' (dent) on the top seam (nothing significant)

-         Cover has one corner slightly worn / dinged / bent  (nothing significant)

-         Cover has JUST A HINT of ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 1.   (front side) and 2 (back side)

-         Cover shows JUST A HINT of yellowing on front side, apparently from aging.

-         Cover has some fraying/wear along the upper seam   (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams (yet)

-        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 writing

-        No stamps

-        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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POSTAGE & SHIPPING:

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