RED CRAYOLA PARABLE/ARABLE LAND SEALED ORIG '67 MONO LP
$
380
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Description
THIS RECORD COMES FROM OUR PERSONAL COLLECTION
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· RED CRAYOLA (with the THIRTEENTH FLOOR ELEVATORS!!!) – PARABLE OF ARABLE LAND - (THE GROUP’S FIRST STUDIO ALBUM) - ORIGINAL 1967 INTERNATIONAL ARTISTS MONO LP IALP # 2
· ORIGINAL U.S. PRESSING
*** STILL SEALED 100% GUARANTEED ORIGINAL, FIRST (AND ONLY) MONO PRESSING ***
· BELIEVED TO BE PRESSED ON THE ORIGINAL TURQUOISE (AQUA-BLUE) INTERNATIONAL ARTISTS LABEL WITH GLOBE LOGO AND SILVER PRINT (NO OTHER MONO PRESSINGS OR LABELS EXIST)
· 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.
· 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)
· SUPER-THICK, VERY HEAVY VINYL PRESSING
· MONO version of this album has NEVER been available on legitimate Compact Disc or in any other digital 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 STORY OF ‘PARABLE OR ARABLE LAND’ OR: “HOW A DEAD PARAKEET CHANGED THE COURSE OF ROCK MUSIC”
“Few rock bands have been accused of killing a dog with sound alone. Probably fewer still would claim the death of a parakeet got them their first break in the music business. Not so Mayo Thompson's Red Krayola.
Though the band initially folded decades ago after the manager of a venue begged, then paid them to stop playing, they survived to become one of the world's most enduring underground acts thanks to a career built on a record made for $600 in 1967.
Dismissed by most critics upon its release according to Thompson, "The Parable of Arable Land" has since been hailed as one of the groundbreaking records of the 1960s.
"We crawled out on a limb and found ourselves alone," Thompson told Reuters in an interview. "The origin of the whole thing is that record. Knowing what I know now about music, I'm not sure I'm capable of conceiving something like that again."
The trio initially known as Red Crayola, with Thompson on guitar and vocals, bassist Steve Cunningham and Rick Barthelme on drums, set out to stretch the limits of music on their debut, he said after a concert in Vienna on Tuesday.
Their first LP featured a handful of songs interwoven with the band's signature sound called Free Form Freak-Outs -- random blasts of sound cut with the aid of the Familiar Ugly, a motley troupe of followers that included bikers and college students.
The Texans' unusual approach was not confined to the studio.
Live, they were abetted by a "rhythm machine" made of an ice block suspended over a hot grill that dripped a beat down onto tin foil rigged to a speaker. A turntable cranked up to the max with the needle gouging the rubber was another favorite.
PAID TO STOP
The internet has exposed the band to a new generation of followers and critics, and "Parable" is increasingly seen as a unique statement in experimental rock.
Modern reviews of the LP that was "recorded in a night and maybe two days" Thompson said, show why it remains an enigma 40 years on.
"It's a mind-milkshake where everyone's friends are dead in abscesses of lunatic incompetence at an epic pitch of stoner rock doom," online music site Pitchfork Media said, awarding the psychedelic opus one of its top ratings.
The eerie mix of garage rock, abstract lyrics and Freak-Outs was not recorded "under the influence," Thompson said. But it was inspired by everything from Frank Sinatra and saxophonist Albert Ayler to buckets hanging on the studio wall that Thompson sang about after running out of words for the opening track.
The LP also came to the attention of The Beatles, and was so unorthodox even John Peel, the late British DJ renowned for his eclectic taste, couldn't wait to turn it off, Thompson added
"Peel didn't like us," he said. "His contribution to popular music is boundless. But I always wore it as a badge of honor."
Despite its detractors, the original pressing sold out, attracting the attention of promoters in California, who invited the band to play in the 1967 Berkeley Folk Festival.
By then the group -- which became 'Krayola' when the makers of Crayola crayons sued over the name -- had given up playing songs and was devoting its energy to ear-splitting feedback.
This did not prove a recipe for commercial success.
"I played sounds in those days I never heard. I could feel them going through my eyelids but I have no idea what they sounded like," said Thompson, who now lives in California, but spent much of the past 30 years in Europe, latterly Edinburgh.
In Berkeley, a man told the band "that noise you're making killed a dog," before guitarist John Fahey landed them a gig at the New Orleans House, "a sort of supper club," Thompson said.
"We cleared the joint in about three minutes. The manager came wringing his hands saying, 'please, please, I'll pay you to stop,'" he added. "We hadn't done it for the money anyway."
This proved the end of the initial combo's live career -- just a year after they were discovered at a "battle of the bands" in a Houston shopping mall by local record producer Lelan Rogers, brother of U.S. country music star Kenny Rogers.
"He told us he'd gone to buy a parakeet for his wife because 'the parakeet had died,'" Thompson said.
Thompson and Cunningham released a second album of stripped down, minimalist songs in 1968 before the band called it quits. A decade later, Thompson resurrected the Red Krayola, which has continued in a variety of line-ups up to the present day.
"The band has always been a sort of project: tentative, tenuous and trouble. It comes together when it can," Thompson said. "We have a career by cumulative default."
(EXCERPT FROM AN ONLINE ARTICLE BY DAVE GRAHAM, REUTERS.COM)
For additional historical or discography information on this album, including track listing ►click here
Finding a still sealed original MONO copy of this experimental minimalist masterpiece?!?! Forget it – not even a HOPE!!! This may be the last one you will ever see.
THIS IS A 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) 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 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) Mono pressing of this title is much rarer, and by far more preferable to its stereo counterpart. We think that the mix is more natural, humane, "organic" and that the mixes are somewhat different than on the stereo version. We estimate that stereo copies of this album outnumber mono pressings by a ratio of at least 5:1.
(d) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
· COVER
COVER IS STONE MINT, STILL SEALED AND NOTHING SHORT OF ABSOLUTE PERFECTION, WITHOUT EVEN A HINT OF A FLAW OR DEFECT; A KIND OF BEAUTY YOU ONLY GET TO SEE ONCE IN A LIFETIME.
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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POSTAGE & SHIPPING:
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