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SIMON AND GARFUNKEL - PARSLEY, SAGE, ROSEMARY AND THYME - ORIGINAL COLUMBIA RECORDS
1966 MONO LP CL-2563
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ORIGINAL
U.S. PRESSING
·
ORIGINAL RED & WHITE "360 SOUND"
COLUMBIA MONO LABEL
WITH A 'NONBREAKABLE' BANNER ON THE LEFT SIDE
·
VERY RARE ORIGINAL
MONO PRESSING, MANY TIMES RARER THAN STEREO
·
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)
·
COVER IS STILL IN ITS
ORIGINAL SHRINK (CELLOPHANE) WRAP WITH A NIFTY STICKER STILL AFFIXED TO THE
WRAP:
·
WHAT IS REMARKABLE ABOUT THIS STICKER IS THAT IT DOES NOT
HYPE ANY OF THE FOUR VERITABLE SIMON & GARFUNKEL CLASSICS FROM THIS ALBUM,
MANY OF WHICH WENT ON TO BECOME CHARTING HIT SINGLES. NO, SIR! IT HYPES WHAT SURELY MUST BE THE SINGLE
WORST NOVELTY SCHTICK SIMON AND GARFUNKEL EVER RECORDED, THE LAME B-SIDE WHICH
NEVER CHARTED, THE DUO'S CHEAP SHOT AT POLITICAL RELEVANCE, AND BY FAR AND WIDE THE WORST TRACK ON THE
ALBUM: THE BARELY TWO MINUTE LONG '7' O'CLOCK NEWS/SILENT NIGHT". THE "SONG" IS NOTHING BUT SIMON &
GARFUNKEL'S VOICES HARMONIZING ACAPPELLA TO THE TUNE OF THE CHRISTMAS CAROL
("SILENT NIGHT") OVERDUBBED OVER VIETNAM-ERA RADIO BROADCAST,
INSINUATING, PERHAPS (?) THAT CHRISTMAS WAS TO BLAME FOR THE VIETNAM WAR
CASUALTIES. THERE YOU HAVE IT FOLKS. IT
WASN'T LBJ, PAUL McNAMARA, WILLIAM
WESTMORELAND, RICHARD NIXON AND HENRY KISSINGER WHO KILLED 3 MILLION VIETNAMESE
AND 50,000 AMERICANS IN VIETNAM. NOPE!
IT WAS - GASP! - SANTA CLAUS AND HIS RAINDEERS!
·
CLEAN, WEAR-FREE LABELS
·
THICK, HEAVY VINYL
PRESSING
·
MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH
'-1A/-1F'. ON SOME LABELS, SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL
PRESSING)
·
MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX)
OF THE RECORD
·
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!)
♫♪♫♪♫♪♫♪♫♪♫♪♫♪
Simon & Garfunkel's first masterpiece, Parsley, Sage, Rosemary
and Thyme was also the first album on which the duo, in tandem with engineer
Roy Halee, exerted total control from beginning to end, right down to the
mixing, and it is an achievement akin to the Beatles' Revolver or the Beach
Boys' Pet Sounds album, and just as personal and pointed as either of those
records at their respective bests. After the frantic rush to put together an LP in
just three weeks that characterized the Sounds of Silence album early in 1966,
Parsley, Sage, Rosemary and Thyme came together over a longer gestation period
of about three months, an uncommonly extended period of recording in those
days, but it gave the duo a chance to develop and shape the songs the way they
wanted them. The album opens with one of the last vestiges of Paul Simon's stay
in England, "Scarborough Fair/Canticle" -- the latter was the duo's
adaptation of a centuries-old English folk song in an arrangement that Simon
had learned from Martin Carthy. The two transformed the song into a daunting
achievement in the studio, however, incorporating myriad vocal overdubs and
utilizing a harpsichord, among other instruments, to embellish it, and also
wove into its structure Simon's "The Side of a Hill," a gentle
antiwar song that he had previously recorded on The Paul Simon Songbook in
England. The sonic results were startling on their face, a record that was
every bit as challenging in its way as "Good Vibrations," but the
subliminal effect was even more profound, mixing a hauntingly beautiful antique
melody, and a song about love in a peaceful, domestic setting, with a message
about war and death; Simon & Garfunkel were never as political as, say,
Peter, Paul & Mary or Joan Baez, but on this record they did bring the
Vietnam war home.
The rest of the album was
less imposing but just as beguiling -- audiences could revel in the play of
Simon's mind (and Simon & Garfunkel's arranging skills) and his sense of
wonder (and frustration) on "Patterns," and appreciate the sneering rock
& roll-based social commentary "The Big Bright Green Pleasure
Machine." Two of the most beautiful songs ever written about the simple
joys of living, the languid "Cloudy" and bouncy "The 59th Street
Bridge Song (Feelin' Groovy)," were no less seductive, and the album also
included "Homeward Bound," their Top Five hit follow-up to "The
Sound of Silence," which had actually been recorded at the sessions for
that LP. No Simon & Garfunkel song elicits more difference of opinion than
"The Dangling Conversation," making its LP debut here -- one camp
regards it as hopelessly pretentious and precious in its literary name-dropping
and rich string orchestra accompaniment, while another holds it as a finely
articulate account of a couple grown distant and disconnected through their
intellectual pretensions; emotionally, it is definitely the precursor to the
more highly regarded "Overs" off the next album, and it resonated
well on college campuses at the time, evoking images of graduate school couples
drifting apart, but for all the beauty of the singing and the arrangement, it
also seemed far removed from the experience of teenagers or any listeners not
living a life surrounded by literature ("couplets out of rhyme"
indeed!), and understandably only made the Top 30 on AM radio. "For Emily,
Whenever I May Find Her" was a romantic idyll that presented Art Garfunkel
at his most vulnerable sounding, anticipating such solo releases of his as
"All I Know," while "Flowers Never Bend With the Rainfall"
was Simon at his most reflectively philosophical, dealing with age and its
changes much as "Patterns" dealt with the struggle to change, with a
dissonant note (literally) at the end that anticipated the style of the duo's
next album.
"A Simple Desultory
Philippic," which also started life in England more than a year earlier,
was the team's Dylanesque fuzz tone-laden jape at folk-rock, and a statement of
who they weren't, and remains, alongside Peter, Paul & Mary's "I Dig
Rock & Roll Music," one of the best satires of its kind. And the last
of Simon's English-period songs, "A Poem on the Underground Wall,"
seemed to sum up the tightrope walk that the duo did at almost every turn on
this record at this point in their career -- built around a beautiful melody
and gorgeous hooks, it was, nonetheless, a study in personal privation and
desperation, the "sound of silence" heard from the inside out, a
voice crying out. Brilliantly arranged in a sound that was as much rock as film
music, but with the requisite acoustic guitars, and displaying a dazzling command
and range of language, it could have ended the album. Instead, the duo offered
"7 O'Clock News/Silent Night," a conceptual work that was a grim and
ironic (and prophetic) comment on the state of the United States in 1966. In
retrospect, it dated the album somewhat, but that final track, among the
darkest album-closers of the 1960s, also proved that Simon & Garfunkel
weren't afraid to get downbeat as well as serious for a purpose. Overall,
Parsley, Sage, Rosemary and Thyme was the duo's album about youthful exuberance
and alienation, and it proved perennially popular among older, more thoughtful
high-school students and legions of college audiences across generations. [The
August 2001 reissue offers not only the best sound ever heard on this album in
any incarnation, but also a few bonuses -- a slightly extended mastering of
"Cloudy" that gives the listener a high-harmony surprise in its fade;
and, as actual bonus tracks, Simon's solo demos of "Patterns" and
"A Poem on the Underground Wall." Raw and personal, they're startling
in their intimacy and their directness, and offer a more intimate view of Paul
Simon, the artist, than ever seen.]
(REVIEW REPRINTED COURTESY OF BRUCE EDER,
ALL MUSIC GUIDE /ALLMUSIC.COM/)
For its extraordinary
contribution to the modern music, superb production, craftsmanship, fine
musicianship, revolutionary significance and influence it exerted on numerous
generations of musicians, writers and general public, or for some other innate
quality, this album was voted one of top-200 albums of all time in one of the
largest poll of critics, music reviewers, professionals and producers ever
organized: the poll, which was conducted by Paul Gambaccini, legendary BBC
Radio A&R man, surveyed more than 50 top music professionals (including Roy
Carr, Jonathan Cott, Robert Christgau, Cameron Crowe, Chet Flippo, Ben
Fong-Torres, Charlie Gillett, Greil Marcus, Murray the K., Lenny Kaye , Bruce
Morrow (a/k/a "Cousin Brucie"), Tim Rice (of "Jesus Christ
Superstar" and "Evita" fame), Lisa Robinson, Robert Shelton (who
wrote liner notes for Bob Dylan's first album), Ed Ward, Joel Whitburn, Pete
Wingfield, etc.). For more details, see: "Critics Choice: Top-200
albums" compiled by Paul Gambaccini, Omnibus Press, Library of Congress
Catalog No.7855565 (or ►click
here for the complete album
listing)
TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ► CLICK
HERE
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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 STILL in its original inner, perforated plastic baggy,
which has - apparently with success - shielded the record from the harmful
impact of elements over many years!
(c)
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!
(d)
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
10:1.
(e)
Of course, this is a full-bodied ANALOG recording, and not an inferior,
digital recording!!!
·
COVER
COVER IS STRONG NEAR MINT, STILL IN ITS ORIGINAL ►SHRINK WRAP (A SMALL PIECE OF SHRINK WRAP IS MISSING)
The following flaws or
imperfections are noted on the cover:
-
Cover shows JUST A HINT of yellowing on back side,
apparently from aging.
NO OTHER IMPERFECTIONS
ON THE COVER:
-
No split seams
-
No ring wear
-
No cut-out (drill) holes.
-
No cut-out corners
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No saw-marks or indents
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No dirt/dust rubbing stains (friction marks caused by rubbing against
other covers)
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No wrinkles or creases
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No writing
-
No stamps
-
No tearing: no chips, dents or nicks on the seams
-
No peel-off marks
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No stains
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No mold or mildew spots
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No stickers or labels
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No water damage
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No razor marks, scratches, pressure marks, lines, streaks, or cuts.
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No warping
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No wax, glue, paint or liquid drops on the cover
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No glue traces or wax residue.
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No bar codes
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No RIAA stamps or stickers.
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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 that you pay for USPS International
Priority Mail OR International Express mail when making a payment in order to
obtain tracking information, which is NOT available for First Class
International shipments.
INTERNATIONAL POSTAGE rates
vary from country to country. 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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DEADLINES ►FREQUENTLY ASKED QUESTIONS
(FAQ)
♫♪♫♪♫♪♫♪♫♪♫♪♫♪♫♪♫♪♫♪♫
OUR REFUND POLICY :
WE OFFER UNCONDITIONAL
MONEY-BACK GUARANTEE WITHIN 30 DAYS FROM THE RECEIPT OF THE MERCHANDISE, NO
QUESTIONS ASKED (THE BUYER PAYS FOR THE RETURN POSTAGE); Still sealed items MUST be
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MDJ. All rights reserved.