TOWNES VAN ZANDT 1st ALBUM MEGA-RARE PROMO-ONLY MONO LP

$

219

    
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·       TOWNES VAN ZANDT – FOR THE SAKE OF THE SONG (TOWNES VAN ZANDT’S MONSTROUSLY RARE FIRST ALBUM) – ORIGINAL 1968 POPPY RECORDS MONO (YES, MONO!) LP PY-40,001 (NOTE THAT THE CATALOG NUMBER IS DIFFERENT FROM STEREO: THE STEREO IS PYS-40,001)

·       ORIGINAL US PRESSING

·       *** PROMOTIONAL COPY; THE RECORD HAS STOCK LABELS; HOWEVER, THE PROMOTIONAL STICKER ON THE COVER AND PROMO BANNERS ON THE LABEL CLEARLY IDENTIFY THIS ITEM AS PROMOTIONAL ***

·       *** MONSTROUSLY RARE,  PROMOTIONAL-ONLY MONO COPY; MONO VERSION OF THIS ALBUM WAS NEVER COMMERCIALLY RELEASED IN ANY WAY OR FORM ; THIS IS EASILY, BY FAR, THE RAREST TOWNES VAN ZANDT ALBUM IN EXISTENCE***

·       ORIGINAL "POPPY LADY" BEIGE AND MULTICOLORED LABEL

·       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) [this is a stereo cover with a mono sticker; NO “proper” mono covers were ever produced for this title]

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       MONO version of this album has NEVER been available on legitimate Compact Disc or in any other digital format.

(►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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On this album, Townes Van Zandt’s  voice seems to be set back from the microphone a bit and also seems to carry a slight echo with it. It lends a mystical kind of aura to the title track, "Many a Fine Lady," " Sad Cinderella" and "16 Summers, 15 Falls." There's a depth and emotional weight to these songs that you don't find in too many places or people, but he can also crack you up with something like "Talkin' Karate Blues," which is a lot like the song "No Deal" from "H,L and I-B." Also, it's great to compare his earlier version here of "Sad Cinderella" with his later interpretation of it on "The Late Great" album.  His classic "Tecumseh Valley" offered another perspective too.

Truly this man is the reigning saint of the movement that seemed to evolve in the early to mid-seventies, with the Flatlanders, Guy Clark, and Billy Joe Shaver, and which continues with Robert Earl Keene, Steve Earle, Buddy and Julie Miller, the Cowboy Junkies and Dwight Yoakam. Nothing better than drinking from the source..

 (EXCERPT FROM AN ONLINE REVIEW BY CHRISTOPHER SMITH)

***

Townes Van Zandt wrote songs with an uncommon grace and poetic clarity, and he sang them with a voice that was at once straightforward, eloquent, and mindful of the arid beauty of his images. A decade after Van Zandt released his first album, there would be dozens of singer/songwriters following his example, but he was a rather unusual commodity when For the Sake of the Song was released in 1968, and the album's production and arrangements occasionally suggest that Jack Clement and Jim Malloy didn't always know what to make of what he brought them. The 11 songs on Van Zandt's debut are all fine stuff (even the throwaway novelty "Talkin' Karate Blues" at least brings a chuckle), and the emotional force with which Van Zandt delivers "(Quicksilver Daydreams Of) Maria," "Tecumseh Valley," and the title tune belies the fact this was his first album. But on several tracks Clement and Malloy attempt to match the elusive mystery of Van Zandt's music with overblown accompaniment and deeply echoey recording, especially the cheesy chorus on "The Velvet Voices," the clichéd Western accompaniment of "I'll Be Here in the Morning," the tinkling keyboards on "Sad Cinderella," and the rattling percussion of "Waitin' Around to Die." In spite of the occasionally misguided production, For the Sake of the Song remains a classic debut. These songs make clear that Van Zandt's genius was already fully formed, and as both a composer and a performer he was a man of rare gifts; even when the backing threatens to drown him out, his gifts come shining through, and For the Sake of the Song was an auspicious debut offering from a talent of the first order.

The PROMOTIONAL, RADIO STATION-, AUDITION OR DEMONSTRATION COPIES AND RELEASES (such as the one we have here) were often distributed among the radio stations before the record was released to the public, sometimes as much as four months ahead. These records are generally considered to be the "first among equals", which is to say the VERY FIRST generation and the VERY FIRST pressings of the particular title; a PROTOTYPE and the earliest known official pressing of the record.

In this case, however, this is a rather moot point,  since this rare promo-only version of the album was never commercially released to begin with.

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ►  CLICK HERE

THIS IS A RESERVE AUCTION!

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CONDITION:

RECORD

(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 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)           Promo-only MONO version of this title is much rarer that a regular, commercially released, version of this title. We estimate that stock copies of this album outnumber promo copies by a ratio of at least 100:1.

(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++ (VG++).

The following flaws or imperfections are noted on the cover:

-        The front panel has what appears to be a faint sneaker or shoe imprint (the cover may have been trampled on); this may be possible to erase or wipe off with a minor effort, but we did not attempt to

-         Cover has some light 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 2 (front side) and 4 (back side)

-         The cover has a few yellowish dust speckles scattered here and there (these tiny spots are not overly obtrusive or distracting)

-         Cover shows JUST A HINT of yellowing on both sides, apparently from aging. (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        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 writing

-        No stamps

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

-        No peel-off marks

-        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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