JAYNE MANSFIELD w/JIMI HENDRIX AS THE CLOUDS DRIFT INSANELY RARE ORIG'65 ACETATE

$

100

WE CURRENTLY HAVE  MORE THAN 300  LISTED ITEMS

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·       JAYNE MANSFIELD WITH JIMI HENDRIX (YES, JIMI HENDRIX!) AND UNIDENTIFIED ORCHESTRA -  AS THE CLOUDS DRIFT BY - INSANELY RARE  ORIGINAL 1967(?) LONDON (POSSIBLY CHALCO) MONO 7-INCH, 45-RPM SINGLE (NO  NUMBER).

·       PLEASE NOTE THAT THE DATE OF THE PRESSING CANNOT BE INFERRED WITH CERTAINTY, BECAUSE THE RECORDING WAS MADE ALMOST TWO YEARS BEFORE ITS OFFICIAL RELEASE, AND IT IS POSSIBLE, EVEN PROBABLE, THAT THE ACETATE WAS MADE SIGNIFICANTLY EARLIER THAN THE OFFICIAL RELEASE ON LONDON RECORDS. WE ARE GUESSING THAT THE ACETATE WAS PRESSED IN EARLY-TO-MID 1966 (PLEASE SEE  THE WEB ARTICLE LINKED BELOW).

·       ORIGINAL U.S. PRESSING

** ULTRA-RARE ONE-OF-A-KIND ONE-SIDED (THE OTHER SIDE IS BLANK) 7-INCH, 45rpm ACETATE (REFERENCE PRESSING) **

·       NO LABEL, NO CATALOG NUMBER AND NO MATRICES (THE ACETATES NEVER HAVE ANY MATRIX NUMBERS AND RARELY HAVE CATALOG NUMBERS), BUT PRESUMED TO BE LONDON RECORDS (OR AFFILIATED PRESSING PLANT) DISC , BECAUSE LONDON RECORDS ORIGINALLY RELEASED SINGLE CIRCA LATE JUNE/EARLY JULY 1967. THE ACETATE MUST BE PLAYED TO IDENTIFY.

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST (AND ONLY KNOWN) U.S. ACETATE PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       THIS ACETATE COMES IN A GENERIC, PLAIN WHITE, POLY-LINED 45rpm SLEEVE (NOT SEPARATELY GRADED)

·       COPYRIGHT NOTICE: THIS TITLE IS BEING OFFERED FOR SALE AS IT IS DEEMED TO BE (OR HAVE BEEN) PUBLICLY AND COMMERCIALLY AVAILABLE (ALTHOUGH IN A VARIETY OF FORMS AND FORMATS) AND, AS SUCH, EXPRESSLY AUTHORIZED BY THE ARTIST, HIS ESTATE OR HIS AGENT(S). IF YOU ARE THE OWNER OF THE COPYRIGHT AND HAVE QUESTIONS, COMMENTS OR DOUBTS, PLEASE CONTACT US DIRECTLY THROUGH EBAY.

·       As far as we know, this album has NEVER been available on legitimate Compact Disc or in any other way, manner or 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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The legend has it that the two deities - one Sex, the other Guitar -  somehow mysteriously and unexpectedly crossed paths one day in late 1965 in order to record Jayne Mansfield's latest single (planned on Chalco label, but ultimately released on London records almost two years later) because they shared the same manager at the time (Ed Chalpin of PPX Enterprises, who owned Chalco label) and because Chalpin had arranged to have Jimi Hendrix play as a session player on the recording. By Chalpin's own account, Jimi Hendrix WAS in the studio together with the Foxy Lady (Jayne Mansfield) on the day the song was recorded, rather than overdub his contribution later (although his bass lines were almost certainly overdubbed, since Hendrix presumably couldn't play bass and rhythm simultaneously). Sadly, no photos of their encounter exist, most likely because it would not be palatable for a white Hollywood Sex Goddess (and/or her husband/manager) to be seen and pose with a mean-looking unknown black musician of little fame and media exposure  who played like he was possessed by all manner of demons, voodoos and hoodoos and very much looked the part. Ebony and Ivory,  alas,  this wasn't. And so, sadly, their brief rendez-vous in the recording studio remains forever shrouded in the purple haze of our collective memory.

In all honesty, Jimi Hendrix' contribution to the dreamy ballad (which sounds like an archetypal Phil Spector Wall-of-Sound Girl Group recording that could have been recorded by the Paris Sisters or Leslie Gore) is ephemeral. He plays rhythm guitar (barely audible and almost drowned out by the oppressive orchestra) and bass guitar (somewhat more prominent). The original B-side of the single ("Suey") had a much more prominent Hendrix contribution; alas,  it  is not included on this acetate.

The single was (probably) recorded in 1965, but wasn't released until late June 1967 - mere days (yes, days) after Jayne Mansfield was killed in a car crash (you wouldn't expect a more graceful and more respectful and less exploitative act from Allen D. Klein, the owner of London/Abkco records, would ya?) as well as only two weeks after Jimi Hendrix's incendiary (literally speaking) appearance at the Monterey International Pop Festival, which gave him his first big break in the United States and marked the beginning of his meteoric rise as a Rock Guitar God.

So, there you have it, folks. The fiery death of one legend, and the fiery birth of another, all on one 7" single acetate. The myth and legend of Hollywood and the myth and legend of Rock Guitar merge in one brief historical performance, before they both move to one gigantic gig in the sky (where, presumably, they are still having a wild 24/7/365 party with numerous dearly departed guests  - Marilyn Monroe and Rita Hayworth come to mind, inter alia - to this very day). Too bad one has to kick the bucket and go belly up in order to join the lovely shindig, it would be great fun to be a voyeuristic spanish fly on the wall while still alive and kickin'  :-).

Please read a very, very thorough and elaborate historical research about this incredible collaboration at the earlyhendrix.com web site.  Please ►CLICK HERE for the full article.

TO SEE IF WE HAVE OTHER LISTED ITEMS BY JIMI HENDRIX ►  CLICK HERE

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PLEASE NOTE: THIS ACETATE APPARENTLY NEVER HAD A CUSTOM COVER;  THE ALBUM WILL BE SHIPPED IN A PLAIN, GENERIC [WHITE] POLY-LINED INNER SLEEVE. ACETATES AND REFERENCE PRESSINGS ARE RARELY – IF EVER – FOUND IN CUSTOM (STOCK) COVERS.

While this acetate is in a DECENT state of preservation, we do expect bidders to understand that the aluminum-based, shellac-coated acetates can never be graded by using the exact, same stringent standards used by collectors for modern long-play, hi-fi LPs or singles. The buyer – if not familiar with acetate (reference) recordings - should be cautioned that these discs were intended for brief, limited use only; they were meant to be played only a few times, then discarded or destroyed. In view of this, the surface layer of the disc is manufactured in such a manner that it will wear off pretty quickly, even under normal conditions -- and specially if not handled with due care. Each subsequent playing increases wear and tear of the disc’s surface layer and diminishes the disc’s playability.

This acetate is in about GOOD to GOOD(+) condition, with some visible and audible scuffing. Absolutely NO part of the shellac (surface layer) of the disc is  missing except for a tiny section along the spindle hole ON THE BLANK SIDE and a few microscopic spots along the outer edge of the disc, and the surface  layer on the play area is NOT otherwise dented, chipped, broken or compromised. The acetate SKIPS once (from what we could determine, only one groove cycle is missed -- roughly 2 seconds of music),  about 1/4 into the song. The disc plays with audible surface noise, but no distortion. The disc has a very slight warp (dent) on one sector (covering the radius - half the diameter - of the disc), probably from the mechanical impact or blow to the disc. This has no effect on playing whatsoever.

ON A SCALE FROM 1-10 (where 10 is the best), WE GRADE RECORD AS 4 to 4.5

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