KAREN DALTON IN MY OWN TIME INSANELY RARE SEALED ORIG '71 J/S LP FOLK PSYCH LP

$

317

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WE CURRENTLY HAVE  NEARLY 700 LISTED ITEMS

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·        KAREN DALTON - IN MY OWN TIME - INSANELY RARE ORIGINAL 1971 JUST SUNSHINE/PARAMOUNT RECORDS STEREO LP PAS-6008 WITH LINER NOTES BY, AND SPECIAL CREDIT TO, FRED NEIL.

·        ORIGINAL US PRESSING

*** STILL SEALED GUARANTEED ORIGINAL FIRST PRESSING ***

·        GUARANTEED ORIGINAL YELLOW/ORANGE JUST SUNSHINE RECORDS LABEL WITH A “SUNBURST” LOGO , SUCH AS THE ONE SHOWN ABOVE, FROM OUR PREVIOUS AUCTION

·        THE THICKNESS OF THE VINYL, THE APPEARANCE AND THE CONSTRUCTION OF THE COVER, LABEL’S LOGO AND OTHER PERIPHERAL ELEMENTS OF THE COVER, ARE ALL PERFECTLY CONSISTENT WITH THE ORIGINAL, FIRST PRESSING OF THIS TITLE.

·        TWO “BREATHE” (AIR) HOLES NOTED ON THE SHRINK WRAP

·        THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·        THICK, HEAVY CARDBOARD COVER, AMERICAN STYLE

·        ORIGINAL "TEXTURED" (CRUDE FINISH) COVER.

·        FAIRLY THICK VINYL PRESSING On the scale from 1 to 10 (1 being the least thick, and  10 being the thickest), we assess the thickness of the vinyl as 7.

According to the person from whom we acquired this item (a good friend of ours and a very fine gentleman), this album comes from the estate of the legendary Rock critic, journalist, liner notes writer and freelancing talent scout Al Aronowitz (1928-2005) best known for introducing  Bob Dylan to The Beatles in 1964. Aronowitz was the original manager of  The Velvet Underground, getting the band their first gig in the auditorium of the high school in Summit, New Jersey (The Velvet Underground stole Aronowitz's tape recorder and dumped him weeks later when they met Andy Warhol) . In a historically infamous episode known as "I want to hold your bong", Aronowitz introduced Bob Dylan to the Beatles in a New York City hotel room on August 28, 1964. According to his own journal entries, at this meeting he brought a marijuana joint which would be the first pot smoked by the Beatles. So...if you are wondering who was responsible for "tripping" the Beatles into recording all those mind-blowing, consciousness-expanding psychedelic masterpieces such as Revolver, Sgt. Pepper's Lonely Hearts' Club Band, Magical Mystery Tour, The White Album or Abbey Road, seek no further. It was the Man who owned this fine piece.

(►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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In My Own Time is the second and last album the mercurial singer Karen Dalton ever cut. Following It's So Hard to Tell Who's Going to Love You the Best, producers Michael Lang and Harvey Brooks (Dalton's longtime friend and the bassist on both her records) did something decidedly different on In My Own Time (titled after the slow process of getting the album done -- in Dalton's relaxed and idiosyncratic manner of recording), and the result is a more polished effort than her cozy, somewhat more raw debut. This time out, Dalton had no trouble doing multiple takes, though the one chosen wasn't always the most flawless, but the most honest in terms of the song and its feel. The album was recorded at Bearsville up in Woodstock, and the session players were a decidedly more professional bunch than her Tinker Street Cafe friends who had appeared on her first effort. Amos Garrett is here, as is Bill Keith on steel, pianist John Simon, guitarist John Hall, pianist Richard Bell, and others, including a star horn section that Brooks added later. If Lang was listed as producer, it was Brooks who acted as the session boss, which included a lot of caretaking when it came to Dalton -- who began recording in a more frail condition than usual since she was recovering from an illness.

In My Own Time is the better of her two offerings in so many ways, not the least of which is the depth she is willing to go inside a song to draw its meaning out, even if it means her own voice cracks in the process. The material is choice, beginning with Dino Valente's gorgeous "Something on Your Mind." Brooks' rumbling single-note bassline opens it with a throb, joined by a simple timekeeping snare, pedal steel, and electric guitars. When Dalton opens her mouth and sings "Yesterday/Anyway you made it was just fine/Saw you turn your days into nighttime/Didn't you know/You can't make it without ever even trying/And something's on your mind...," a fiddle enters and the world just stops. The Billie Holiday comparisons fall by the wayside and Dalton emerges as a singer as true and impure as Nina Simone (yet sounds nothing like her), an artist who changed the way we hear music. The band begins to close in around her, and Dalton just goes right into the middle and comes out above it all. She turns the song inside herself, which is to say she turns it inside all of us and its meaning is in the sound of her voice, as if revelation were something of an everyday occurrence if we could only grasp its small truth for what it weighs.

When the album moves immediately into Lewis and Wright's "When a Man Loves a Woman," Dalton reveals the other side of Percy Sledge's version. This woman who was so uncaged and outside the world that she died homeless on the streets of New York in the 1990s was already declaring the value of loving someone even if that someone couldn't return the love as profoundly -- which doesn't mean it isn't appreciated in the depths of the Beloved's being. Dalton sings the song as if wishing that she herself could accept such a love. Her voice slips off the key register a couple of times, but she slides into her own, which is one of the hidden places in the tune that one didn't even know existed. The layered horns don't begin to affect her vocal; they just move it inside further. And the woman could sing the blues in a way that only Bob Dylan could, from the skeletal framework of the tune toward the truth that a blues song could convey -- just check her reading of Paul Butterfield's "In My Own Dream," with some gorgeous steel playing by Keith. Her version of Holland-Dozier-Holland's "How Sweet It Is (To Be Loved by You)" has her singing completely outside the time and beat of the tune; floating through the tune's middle, she glides, slips, and slides like a jazz singer in and around its changes.

Another standout is Richard Manuel's "In a Station." As a piano, rolling tom-toms, and an organ introduce it, Dalton is at her most tender; she feels and communicates the understatement in the original, and lets her voice flow through even as the band plays on top of her. And when her voice cracks, it's as if the entire tune does, just enough to let in the light in its gorgeous lyric. Of course, it wouldn't be a Dalton album if there weren't traditional tunes here, and so there are three, including "Katie Cruel," with Dalton playing her banjo and finding the same voice that Dock Boggs did, the same warped cruelty and search for the brutality of love. "Same Old Man" is another banjo-based tune set in an Eastern modal drone. Only the stark loneliness and outsider presence of Dalton's voice shift and move through the large terrain provided by that drone and create the very substance of song from within it. It's spooky, otherworldly. George Jones' "Take Me" is transformed from a plea to a statement; it's a command to the Beloved to deliver her from her current place outside love to become its very substance. It's still a country song, but there's some strange transgender delivery that crosses the loneliness of Hank Williams with the certainty of Tammy Wynette, and is rawer than both.

If one can only possess one of Karen Dalton's albums, In My Own Time is the one. It creates a sound world that is simply unlike any other; it pushes the singer outside her comfort zone and therefore brings listeners to the place Dalton actually occupied as a singer. Without apology or concern for technique, she could make any song her own, creating a personal narrative that could reach outside the song itself, moving through her person and becoming the truth for the listener.

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

According to the legend, Karen Dalton - who had absolutely the single most expressive white female voice we've ever heard, comparing quite favorably to even Billie Holiday or Anita o'Day -  - had to be tricked, coerced and cajoled into the recording studio by Fred Neil and Nick Venet in order to record her first album in 1969, and was so  furious after she found out that the album was recorded unbeknownst to her, that she refused to enter the recording studio for another two years. This, her second - and last - recording session, is equally hermetic, expressive and sparse, but find her surrounded by an incredibly competent group of musicians and shows her great love of the blues; nearly 80% of the tracks are blues and R&B covers. Judging by the effort and emotional strain she invested in this album, we would not be surprised to find out that Fred Neil (who wrote the liner notes) or Dino Valente (who wrote the lead track on side 1) again had to trick her into the studio.  An indispensable, critical acid/psych folk listening experience.

Track listing: Something on your mind - When a man loves a woman - In my own dream - Katie Cruel - How sweet it is -- In a station - Take me - Some old man - One night of love - Are you leaving for the country.

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·                                     CONDITION:

·                                     THE 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)           THE ALBUM IS STILL FACTORY SEALED AND IS BELIEVED TO BE PERFECTLY MINT. Please note: sealed items are assumed to be mint and are sold as-is, as we have no way of inspecting them. For our policy on still sealed records ►click here (PLEASE READ BEFORE PLACING A BID).

(b)           The record is  apparently pressed on a RELATIVELY  thick, inflexible vinyl. This is NOT a thin, flimsy ('dynaflex' type),  vinyl, but not the thickest, most rigid vinyl, either.

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

·                                     THE COVER

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

The following flaws or imperfections are noted on the cover:

-          Cover has one corner slightly dinged (nothing significant)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

We offer THREE postage rates for both Domestic and International Mail: Media Mail, Priority Mail and Express Mail for domestic, and First Class, Priority International Mail, and Express International Mail for international orders. INTERNATIONAL CUSTOMERS PLEASE NOTE: WE RECOMMEND (BUT DO NOT INSIST) that you select USPS International Priority Mail OR International Express mail when making a payment.

INTERNATIONAL POSTAGE rates vary from one region of  the world to another. For SPECIFIC international and domestic postage rates ►click here. While you can be rest assured that our packaging is careful, sturdy and impact-proof, please note that damage, loss or theft in transit is always possible, and in the case of some countries even PROBABLE. To discuss this potential problem and ensure flawless delivery, please contact us thru eBay BEFORE placing a bid.

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OUR REFUND POLICY :

WE OFFER UNCONDITIONAL MONEY-BACK GUARANTEE WITHIN 30 DAYS FROM THE RECEIPT OF THE MERCHANDISE, NO QUESTIONS ASKED; Still sealed items MUST be returned sealed in order to be eligible for a refund Some restrictions apply. Please read our complete refund policy before placing a bid. ►Click here  for the full text of our policy

FINE (BUT IMPORTANT!) PRINT

(1) The year indicated in the title bar is the year of the original release,  NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, text in red letters). (2) Please do NOT bid based on the title bar, subtitle bar or item specifics box alone; instead, please read the entire description and grading before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to cancel bids in the final 12 hours of the auction; if you need to do so, please contact eBay for help (5) We are unable to provide matrix-, stamper- or other pressing  information in the final 24 hours of the auction. If you require this information, please contact us well before the final day of the auction. (6) Yes, we DO combine shipments. Please click on "Shipping and Payment" tab on top of the auction page for additional details. (7)  All Paypal payments must be made from confirmed Paypal shipping addresses. NO third party shipping addresses will be honored (8) Absolutely NO partial refunds: if you are unhappy with the merchandise you received, please return it for a full refund, postage included (9). Civilized people can disagree without accusing each other of being indecent or dishonest; if you need proof of this seller's personal integrity, please check our eBay feedback, which speaks for itself  (10) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner;  please avoid puerile, offensive, abrasive or menacing language (attempted humor is fine and usually appreciated, although overused-to-death sarcasms can be really, really tedious. (11) This seller will accommodate all reasonable requests and is generally a flexible and agreeable person (12) Our love & appreciation for your trust, loyalty and business, always and forever; Thank You & Good Night!

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