AUM RESURRECTION RARE ORIGINAL '69 SAN FRANCISCO SOUND PSYCH LP IN SHRINK MINT

$

110

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·       AUM – RESURRECTION – ORIGINAL 1969 SAN FRANCISCO SOUND RECORDS STEREO LP F-30002

·       ORIGINAL U.S. PRESSING

·       ORIGINAL ORANGE-YELLOW SAN FRANCISCO SOUND LABEL WITH A DRAWING OF THE GOLDEN GATE BRIDGE IN THE BACKGROUND

·       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

·       THICK, HEAVY VINYL PRESSING

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1A/-1A'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

 (►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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Classic rock act from San Francisco, almost totally forgotten now, but with cult status nevertheless , faithful following and superb credentials - that was one of the "in-house" bands during glorious days of Fillmore West, and it was signed by Bill Graham for his Fillmore Records label (by the way, this record label together San Francisco Records were established by Bill Graham, and not by CBS).

This blues-inspired and jam-oriented power trio (Wayne Ceballos, Kenneth Newell, Larry Martin) was around for a long time, since mid 60s at least, working hard and playing small venues, so they were a household name of the vibrant San Francisco musical scene. Initially they were spotted (and promptly signed by Sire) for a debut album "Bluesvibes" (1969) Bluesvibes, built around seven lengthy jams - it's a matter of taste, but I like it.

Aum used to hang around Fillmore, where it was picked up by Paul Baratta for Tuesday Dollar Nights , which was Bill Graham's way of introducing local talents. Later Bill Graham wrote that in 1969 he had Cold Blood* and a band called Aum - "a bunch of good acts but they just didn't break", it couldn't be said better!

For the deal with Fillmore Aum changed almost totally their approach - the LP released in 1969 had tasteful artwork with a hint of religious inspiration, as well as the whole concept which remains a rather awkward attempt to drag in eternal Christian themes ("And the ghosts of a thousand suns came shining through the trees...)

All compositions were originals penned by Wayne Ceballos (except Pachuko Boogie) under a strong spell of Fab Four - the main element of "God Is Back To Town" was unashamedly borrowed from the intro of "Sgt.Pepper's" and is the best part of this lengthy piece, while acoustic "Only I Know" and sad and melancholic "Today & Tomorrow" definitely got the inspiration from the same source.

I wouldn't insist on recommending the album to everyone - I do admire greatly the musicians of those long gone days, and all their sins should be forgiven. But "Resurrection" is not the most accomplished masterpiece - the opening track is noisy and messy, and when they are trying to imitate tribal chanting (as on "God Is Back..." or "Aum") it could have been impressive at the live gig, on the studio album it sounds rather unconvincing and even annoying - although the voice of Wayne Ceballos (when singing solo) is clear and powerful; on "Resurrection" his voice reminds Jimi Hendrix. Two up tempo hard rocking songs ("Bye Bye Baby" and "Little Brown Hen") are also spoiled by the same unison singing. In my  humble opinion the best composition is "Aum", which starts as prayer-like hymn and develops into virtuoso psychedelia with polyphonic singing.

 (EXCERPT FROM AN ANONYMOUS ONLINE REVIEW)

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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. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

(b)            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!

(c)           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 has one corner slightly worn / frayed / bent (just a beginning of the split seam)

-         Cover has some writing on its back side (a small price code written in one corner)

NO OTHER IMPERFECTIONS ON THE COVER:

-        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 stamps

-        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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