RARE Orig 1972 UK "GNIDROLOG" ACID-PROG PsYcH MADNESS Crimson / Van Der Graff
$
191
$ 191
Sold For
Dec 10, 2023
Sold Date
Dec 3, 2023
Start Date
23
Number Of Bids
USA
Country Of Seller
eBay
Auctioned at
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Description
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- ORIGINAL 1972 (textured Gatefold) FIRST PRESS
- ALL BLACK (Original) 1972 Plastic-lined Inner Sleeve Is Included !
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- Made In England - (orange) RCA - AGBS 0828 (Stereo)
- PLAYS CLEAN !
- ALL BLACK (Original) 1972 Plastic-lined Inner Sleeve Is Included ! .......................................
Obviously, the multi-instrumentalists w/ everything from cello to harp to keys and guitar is handled capably with an attraction (especially satisfying are Peter Cowling's menacing bass parts), the dramatic vocals are another, but best of all is the group's penchants for strident dynamics. The lyrics, though a throwback to the hippie daze, are well-written, clever and still hold some meaning for those of us who missed out on it first time round.
All in all, fantastic stuff.
Jarring, biting aggression instantly drags the listener into Long Live Man Dead, ten minutes of dynamic madness, juxtaposing the opening chaos with a quirky recorder, and pulling off admirably the sort of false lead that Tull would take so much interest in by 1973's A Passion Play, crossing wonderfully slippery bass runs with the intentionally stunted aggression of Nigel Pegrum's superbly dramatic percussion work. The lyrics are biting, angry and delivered with as much aspic as Colin Goldring's superb voice can muster. The band's confidence in their dynamics even on their very introduction to recording as a group is incredible, being willing to fade to nothing and then reintroduce themselves with a simmering cymbal only before the lush, pastoral flute and minute acoustics of a folk ballad, and then to pull themselves back to the vicious rock employing the vocals as a sort of linking point, while the rest of the band subtly builds to return the ferocious anger of the opening. A dark bass, almost imperceptibly complemented by unusual guitar, runs us out and into...
Peter, initiated by a gorgeous cello, flute and recorder trio, sinking and rising mournfully, is almost a lament, regretting the passage of the title character from his revolutionary antics to a tedious desk job. The resentful vocals are under laid with a subversive medieval-feeling acoustic, and a ticking clock segues the end of the piece. Smooth, meaningful and a bold inclusion.
Snails is another dynamic showcase, with some incredibly frantic quiet material juxtaposed with the eclectically loud splintering of the guitar, occasionally backed up by keys. Spiraling bass and flute or oboe backing pictorially fills out the piece's unforeseeable and crazed energy, and throughout there's both the circular pull of the bass parts, and the gradual dynamic bursts of guitar and e-piano ( ? think). The vocals feel a mixed need to follow the general dynamic, occasionally complementing with mockery, occasionally using madness as a substitute for violence. Towards the piece's end, theatrical winds (both contribute by Colin Goldring... or maybe oboe... play out a vituperative duet. Top notch work from Nigel Plegrum, again, for working up such an energetic and violent percussion part without that much in the way of real 'drums'. Really incredibly violent at times.
Time And Space, alternately pretty in a sort of casual folk song way and daringly crazed with its own sort of self-destructive fervor. The calm folk open gives way to a thick, block bass-driven rock piece with the occasional Soft-Machine-like overflow. Unusually produced flute and thunderous bass offers up more chaotic vocal work, with a lot of stress on pronouncing the individual lyrics, and the piece comes together in its jazz & rock meets Van Der Graaf Generator way. The heady rhythm section allows for a two guitar jam, complementing and contradicting each other with equal effect. Ten-second drum solo, and suddenly, scat-sung flute work before the regal power of the final guitar chord.
Absolutely bizarre, and yet so brilliantly pulled off.
Who Spoke follows this energy with a less emotionally taxing trip, bringing an introspective acoustic guitar to the high-range, endearingly individual voice of Colin Goldring, ranging comfortably from nervousness to hope to anger and defiance to panic. As far as plain acoustic-and-voice goes, this is pretty far-out...Goodbye - Farewell - Adieu is the precursor of the more 'symphonic' and grandiose material their sophomore album would feature, and it's nonetheless significantly more enjoyable than that, with a gorgeous vocal over the sad harmonies (and with such amazing lyrics)
'Goodbye, farewell, adieu' a momentous bass part and a careful development to the crunching guitar chord and a slow bluesy solo, and while that solo could well be from a faster-paced Pink Floyd song, the imaginative resolution straight into an up-tempo jam is something really quite Gnidrolog, a rhythm section jumping about a smooth, defiant harp soloing all over the place and an impeccably tasteful sense of when to have a little communal break. Overall great musicianship and Crimson "Schizoid-Man" wailing, coming casually off the whole trip with a chord. Fantastic conclusion.
For those with an appreciation for the dramatic.
- Colin Goldring / lead vocals, guitar, recorder, winds, harp
- Stewart Goldring / lead guitar, vocals
- Peter Cowling / bass, cello
- Nigel Pegrum / percussion, flute, oboe, keys
- 1. Long Live Man Dead (9:44) :
- a) Long Live Man Dead (3:58)
- b) Skull (5:46)
2. Peter (3:27)
3. Snails (7:15)
4. Time and Space (7:33)
5. Who Spoke (2:24)
6. In Spite of Harry's Toenail (9:26) :
- a) Goodbye-Farewell-Adieu (3:40)
- b) Harry's Toenail (5:46) CONDITION:
- The cover: rated: fragile gatefold remains in "EX" (excellent) & even better condition, there are no issues that would keep anyone from this historic rarity in their private collection. Yes, it's the 1972
- bumpy-textured gatefold not made like this anymore!
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- The vinyl: Rated: M- all 4 sides are flawless as audio delivers exactly as viewer would have heard at the very cusp of 1972.
- Both (orange UK "RCA") labels are clean.
- ALL BLACK (Original) 1972 Plastic-lined Inner Sleeve Is Included !
A cool addition to anyone's music library!
SEE: SELLERS OTHER ITEMS (((similar grooves for "head" people...)))
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for you BEFORE leaving ANY negative feedback. Thanks! ............................................... GRADING SYSTEM:
All imperfections are noted both cover & record
GRADING SCALE: M, M-, EX, VG++,VG+, VG, VG- M Completely clean, no marks, plays clean
M- Carefully used, looks clean, plays clean, shiny gloss, plays clean
EX Faint scuff or superficial mark, near M-, high gloss, plays clean VG++ Glossy with minimal scuffing or light mark playing very nice, enjoyable
VG+ a bit more scuff or marks still plays well with very minimal surface at worse VG more marks/scratches only minor, nothing deep, no loud clicks or pops this grade is abused by many, VG here does not mean "trashed" VG- surface noise present, will not have skips or jumps ALL PAYMENTS SHOULD BE MADE WITHIN 5 DAYS Of AUCTIONS END BIDDERS PLEASE = Do Not Bid If You Are Not Serious About Following Through The Transaction! ALL ITEMS GUARANTEED FOR WINNING BID - LESS SHIPPING!
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