ALLEN TOUSSAINT TOUSSAINT (1970) MINT ORIG SCEPTER LP
$
590
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· ALLAN TOUSSAINT (with DR. JOHN, MARY CLAYTON-THOMAS, INDIVIDUAL MEMBERS OF THE METERS, AND OTHERS) – ALLAN TOUSSAINT (ALLAN TOUSSAINT’S SECOND ALBUM) - ORIGINAL SCEPTER STEREO LP SPS-24003
· ORIGINAL U.S. PRESSING
· ORIGINAL RED, BLACK AND WHITE SCEPTER LABEL
· The bidders should note that this is a rare Bob Ludwig-mastered pressing of this album, with his initials “RL” (Robert Ludwig) etched in the trail-off vinyl of the disc. All the wonderful elements of Bob Ludwig’s trademark mastering style are here: incredible clarity and balanced channel separation, vivid and spacious “ambience” sound, as well as wide dynamic and frequency range of the sound spectrum. As is almost always the case with Bob Ludwig’s masterings, the Bob Ludwig-mastered pressings of this album are CONSIDERABLY rarer than the regular, non-Ludwig copies of this album.
· THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
· ORIGINAL, THIN CARDBOARD COVER (NO THICK CARDBOARD COVERS WERE EVER PRODUCED FOR THIS TITLE)
· CLEAN, WEAR-FREE LABELS
· THICK, HEAVY VINYL PRESSING
· THE RECORD HAS A'STERLING' STAMP IN THE TRAIL-OFF VINYL (DEAD WAX) AREA, WHICH IS GENERALLY CONSIDERED A PROOF OF AUTHENTICITY OF THE FIRST 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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As intimated by the cover art, this album is a close-up and personal portrait. Although the multi-talented hitmaker had become a living legend within the thriving musical community of his native Crescent City, Allen Toussaint more often than not deferred the spotlight to the vocalists for whom he wrote, produced, and arranged. Released in 1970, Allen Toussaint was only his second LP during a career that (at the time) had already outpaced practically all of his contemporaries. The ten songs on the original LP provided a launching pad for Toussaint in front of the microphone, while likewise being a springboard for the direction that he would take during the ensuing years as a solo act. Providing Toussaint (piano/lead vocals) some sonic support is a combo consisting of Terry Kellman (guitar), Mac Rebennack aka Dr. John (organ/guitar), Eddie Hohner (bass), Freddie Staehle (drums), John Boudreaux (drums), Clyde Kerr (trumpet), and Earl Turbinton (alto sax), plus the dynamic pairing of Merry Clayton and Venetta Fields on backing vocals. One theme that runs throughout all of Toussaint's work -- for others as well as himself -- is the innate undercurrent of bayou rhythms infused within each and every number. These are particularly evident on the instrumental selections "Either," "Louie," and especially "Pickles." The latter also contains supreme substantiation of Toussaint's utterly underrated keyboarding as he effortlessly drifts between a jazzy rag and haunting melodic runs reminiscent of Burt Bacharach. The influences spill over into the vocal-centric sides as "Chokin' Kind" is soppin' with a Memphis or Muscle Shoals sensibility. Conversely, the joyful "Sweet Touch of Love" has a soulful syncopation that plays on the traditional sounds of New Orleans. There are also the artist's updates of his own compositions "Working in the Coal Mine" and "Everything I Do Gonna Be Funky" -- which he penned for Lee Dorsey, who obliged by making both RB hits and significant pop crossovers. More than simple remakes, Toussaint reveals his abilities as a convincing crooner, even giving Bonnie Raitt a run for her money with his sly attitude-laden reading of "What Is Success."
(EXCERPT FROM AN ONLINE REVIEW BY LINDSAY PLANER, ALL MUSIC GUIDE /ALLMUSIC.COM/)
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THIS IS A NO-RESERVE AUCTION!
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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) 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 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.
- Cover has a small cutout hole in one of the corners
- Cover has a few wrinkles along the spine and the upper seam
- Minor shelf wear noted on the seams (nothing significant)
NO OTHER IMPERFECTIONS ON THE COVER:
- No split seams
- No cut-out corners
- No saw-marks or indents
- No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)
- 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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POSTAGE & SHIPPING:
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OUR REFUND POLICY :
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