I wonder if it's a mono promo? Sometimes it's hard to tell.It's a promo so, unfortunately, it will have the sticker on the front, but at least it will be an early pressing.
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I wonder if it's a mono promo? Sometimes it's hard to tell.It's a promo so, unfortunately, it will have the sticker on the front, but at least it will be an early pressing.
Oh! Sorry to hear that. (This may be the most challenging A&M/CTi to find... as a complete visual package.)Turns out the cover was the only good part of it. First examination, the vinyl didn't quite look NM...but upon playing it, I would barely give it a VG-. Going right back to the seller. And I'm off to try to find another.
Nope! Not at all. (Ever wonder if any of these folks realized that collecting their LPs would become a lifetime occupation to a bunch of '60s kids?)What a time I've had with CALLING OUT LOUD by Nat Adderley...What confounded me was the track timings and where to break the sides into "songs". The whole of both sides run completely together with no breaks, and the track timings have some anomalies that make it near-impossible to know where the dividing line should be.
Example, Side One.
"Biafra" is listed in the gatefold at 6:30, and my digital rip comes in at 6:31. No problem.
"Haifa" is listed at 4:50. but to my ears, the break would put it at 4:56. Again, I can live with that.
"St. M" and "Grey Moss" are the two that gave me fits. "St. M" is listed at 3:30, but my senses tell me that it's longer, going to 3:48.
"Grey Moss" though is the worst, listing itself as 5:00, when there just isn't that much material left on the side. Even the banding on the record tells me that. So it came in at 3:33, if my identification of the break is where it should be.
Side two was a little better, but the first track sounded like it should be 6:10 instead of the listed 6:00.
Too OCD?
...I knew I had one of these around here somewhere (down in the dungeon!)I wonder if it's a mono promo? Sometimes it's hard to tell.
...I knew I had one of these around here somewhere (down in the dungeon!)
...Well, gentlemen, after similar agonizing, I finally managed to press "checkout" on one of these (SS cutout) -- I had to, it completes my collection! As for the music -- well, I'm actually OK with that sort of thing...to a point...here's where Creed's keep-it-under-thirty-two-minutes directive works in my favour. (The irony, of course, is that had Tamiko issued this LP on RCA, or A&M for that matter, I wouldn't be bothered with it; furthermore, it isn't representative of A&M/CTi -- though, I suppose it fits the bill as a decent 1-2-punch with the Barbary.)I have a Tamiko Jones in my cart but can't seem to press the Checkout button just yet...
-Oh, good grief! Looks more like a candidate for GOOD or FAIR.I agree on the condition ratings--Goldmine still has the same standards, but apparently many sellers don't. I just got a shipment of four LPs today, and I believe the one unsealed LP was rated as NM...and sure enough, it actually is NM. Beyond dust in the grooves, there isn't a mark on it. (I haven't heard this LP since I was a kid, so it'll be a memory lane trip for certain.) The Nat Adderley was also graded NM, but is absolutely awful--I'm shipping it back tomorrow. (Wrong pressing from what was advertised, and maybe VG- at best for condition.) The seller was very understanding though, and immediately offered to take it back.
One sore spot with me is that records are visual graded and not play graded. Although I understand why--a seller with 10,000 LPs listed for sale cannot play every single one. And many record stores aren't as particular as I am--what a record store might call a "nice player" has a few crackles in it, like my copy of the rare Sergio Mendes Quiet Nights LP.
The reason I prefer play grading is that I have literally dozens of LPs that look fine, but they have enough groove wear that to me, are not anything I'd ever play again. I may see if my youngest wants them when she moves to her own place, but otherwise I may just end up donating everything to the record shop a few blocks from our house. I don't feel they are worth selling. I've replaced almost all with sealed copies, and in a few cases, with better used copies.
It could have been VG- but the stylus got stuck on that big gouge and I pulled the record off. The seller is still apologizing profusely--he and a co-worker are in on the account together, and it was not one of his records. No worries here--I'm getting refunded.-Oh, good grief! Looks more like a candidate for GOOD or FAIR.
Ever heard Ketty Lester/When A Woman Loves a Man (Tower/'66) or any of Patti Drew's 4 CAP LPs ('67-'69)? You may like these if you like the Jones LP.It could have been VG- but the stylus got stuck on that big gouge and I pulled the record off. The seller is still apologizing profusely--he and a co-worker are in on the account together, and it was not one of his records. No worries here--I'm getting refunded.
I agree the Tamiko Jones and Richard Barbary don't really fit the CTI mold, but I got the impression that since Taylor now had his own label, he was experimenting a bit to find a direction for the label. I actually liked Tamiko's album more than I thought I would--she has a bit huskier voice than others and there's some decent soul music on the record. Same with Barbary's. In fact I think I mentioned earlier that the newcomer Leon Bridges reminds me of Barbary's style in a way. I like Barbary's unusual treatment of "Nature Boy." I do hear the Creed Taylor touch on some of the tracks on both albums, but not on all of them.
I'm debating getting the rest of the A&M/CTi records on vinyl, but I already have just about all of the digital releases from over the years, so I've heard pretty much the entire catalog. I only have one more missing piece to acquire. (Actually, two....until my Nat Adderley replacement shows up.)
I will say that exploring the post-A&M CTi catalog has been really interesting. I feel as though Taylor's style really gelled by the time he was ready to depart A&M.
Thanks, LPJim. I was always curious about this. The stint was apparently so short that there was obvious hiatus in Atlantic LP session work! According to the Wikipedia entries, recording sessions for both labels overlapped during the A&M/CTi period, JUL67 to MAR68.he stint with A&M/CTI was brief 1967-68,
Way to go on the Nat.Looks like the stars were aligned. Calling Out Loud landed here a couple of hours ago. 1) It's sealed. 2) It's not a promo copy; no stickers on the jacket. 3) Stereo! 4) The cover only looks slightly worn beneath the shrink. 5) The LP is, of course, untouched and in an original innersleeve with the CTi catalog up through SP-3018 featured on it.
I have one more to grab from the earlier CTis, then I'll have the collection completed. I still may try to get vinyl of those copies I have in digital (who can resist the cover art?), especially if it's the AM+ series.
We should shoot her an e-mail... In any event, I will be breaking the seal in a couple days. (For years now I've been shooting videos of such events. I call it Breaking The Seal and I give a little dog and pony show: discuss the background of the artist and the LP and cover art; then I break the seal and review the inner sleeve for a little contextual history (e.g., like why RCA was hocking 1965 Al Hirt and Peter Nero LPs in a 1970 Lighthouse LP...), and finally examine the LP surface and the cut. Silly, I know, but it will be something my kids can laugh at 20 years from now... when they're trying to understand my obsession with 1960s music -- while figuring out what on earth to do with all the LPs and CDs.)We probably have two of the last few sealed Tamiko Jones LPs in the world.
We probably have two of the last few sealed Tamiko Jones LPs in the world.
According to Discogs, that's a 2020 LP issue. The same label has a couple Command LPs listed as well. (Those things are probably created for and marketed to the "new hip vinyl" buyer...with endless disposable income.)Looking around, I see a number of this Tamiko Jones title that has no A&M or CTi logo on the front, and one of the listings mentioned both a UPC and the Music For Pleasure (mfp) label, and all are still sealed. Looks like this title got a cheap-y reissue on mfp.