ALLEN GINSBERG HOWL RARE 1959 FANTASY MONO LP STILL IN SHRINK WRAP MINT

$

109

    
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·       ALLEN GINSBERG – HOWL AND OTHER POEMS - 1959 FANTASY RECORDS MONO LP 7013

·       GENUINE  U.S. PRESSING

·       VERY EARLY PRESSING CIRCA 1966 ON ORIGINAL MAROON FANTASY MONO LABEL WITH GOLD PRINT (THE LABEL IS EXACTLY THE SAME AS THE 1958 ORIGINAL, ONLY THE COVER AND THE CATALOG NUMBER ARE DIFFERENT)

·       INCLUDES ORIGINAL ALLEN GINSBERG LINER NOTES (“FATE TELLS BIG LIES AND THE GAY CREATOR DANCES ON HIS OWN BODY IN ETERNITY”)

·       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)

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL 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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This is arguably the best-known recording to feature any beat-era poet. Fantasy Records originally issued Howl and Other Poems in 1959 and the title was kept in print until the late '80s, when CDs replaced traditional vinyl records and cassettes. Prior to this 1998 release, the contents were available in the digital domain on the Howls, Raps & Roars (1993) multi-disc box set. Although "Howl" is the centerpiece, the peripheral works -- especially the mantra-like "Footnote to Howl" and "Howl" (Part One)" -- are given empowering presentations that magnify the greatness that's inextricably inherent in both art and artist. Indeed, the genesis of Allen Ginsberg's brilliance as both poet and performer has rarely been equalled. The modern listener remains entranced by his vaudevillian sense of provocation as it couples with an unspoken, yet palpable obsession of a postmodern amphetamine-fuelled Shakespeare. The material is split between the live recitations of "Howl," "Sunflower Sutra," and the opening section from "Kaddish," which had been collectively documented at Ginsberg's "Big Table" readings during the 1959 Shaw Festival in Chicago. The other works consist of studio recordings made in June of 1959 in the Bay Area -- where the poet resided semi-permanently. Although a majority of the titles featured on Howl and Other Poems also appear on the four-volume Holy Soul Jelly Roll: Songs & Poems (1994) box set, they are not the same performances. Of particular note are full-length versions of both "Howl" and "Kaddish," which are otherwise only available on the previously mentioned and highly recommended compendium. Literary enthusiasts are greatly encouraged to compare and contrast the respective readings as they offer additional insight to the schizophrenic embodiment of the poet and performer.

 (EXCERPT FROM AN ONLINE REVIEW BY LINDSAY PLANER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

One of the great privileges I’ve had in my 30 years of living in New York was meeting Allen Ginsberg in person during an interview he gave for a New Jersey-based fanzine just a few months before he passed away. He was painfully frail and visibly sick, and one could see that the end was near. Despite being in almost palpable pain,  Ginsberg was a picture of grace, gentleness and humanism. He waxed poetic, and at some length, about his Buddhist beliefs, particularly the impermanence of one’s identity and the fact that everything must disappear and dissolve in the larger Cosmic Self. Nothing, he claimed - one’s identity in particular -  is permanent and eternal. Everything must end and endure the great cosmic oblivion, he believed.

The only thing I regret is that I was so tong-twisted and (needlessly) intimidated by the presence of this guru of American counterculture that I only managed to utter a few words. I was mesmerized into paralysis. Oh, well. I am sure we’ll meet again some day, Mr. Ginsberg. Although, with my luck, we will have both assumed different karmic identities by then L

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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  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)           Stereo copies of this album are NOT known to exist.

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

·       COVER

COVER IS STRONG NEAR MINT,  STILL IN ITS ORIGINAL ►SHRINK WRAP

NO IMPERFECTIONS ON THE COVER:

-        No split seams

-        No ring wear

-        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 yellowing from aging

-        No writing

-        No stamps

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

-        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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