BOBBIE GENTRY FANCY RARE ORIGINAL 1970 CAPITOL LP IN SHRINK STUNNING

$

51

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·       BOBBIE GENTRY – FANCY -   RARE  ORIGINAL 1970 CAPITOL RECORDS STEREO LP  ST-428

·       ORIGINAL U.S. PRESSING

·       ORIGINAL LIME-GREEN CAPITOL LABEL, LATE 60’s STYLE

·       CAPITOL RECORDS,SCRANTON, PA  PRESSING

·       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); THE LOVELY PAINTING ON THE FRONT COVER IS BELIEVED TO BE PAINTED BY BOBBIE HERSELF (MOVE OVER. MODIGLIANI, MAKE WAY FOR THEM LEGS!)

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       As far as we know, this album has NEVER been available on legitimate Compact Disc or in any other way, manner or 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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As brilliant an interpreter as she was a writer, Bobbie Gentry’s second set is a satiating orch-pop fix from, in the main, the finest contemporary sources. Even the coffee-table mediocrity of ”Something In The Way He Moves”, written by flavour of the month James Taylor, is offset by Bobbie’s vocal beauty.

There are only two tracks which don’t climb the heights but they’re quite tolerable. Laura Nyro's ”Wedding Bell Blues” (nailed by The 5th Dimension and Nyro herself) should have been a perfect choice but BG sounds disinterested; a wry comment on her own marital disfunctioning perhaps? The too-high key chosen for Leon Russell’s ”Delta Man” is an unusual mistake but the real problem with this selection is that it was recorded at all. Her own ‘Mississippi’ songs, on previous albums, tower above it. These two minor blips aside, the song selections, the arrangements (by Jimmy Haskell and Tommy Oliver), the Muscle Shoals band and the Gentry performances are inspired. Slick but loose throughout.

Harry Nilsson’s “Rainmaker” is especially special as it sounds as if it could have been influenced by Bobbie’s own writing. Over a perfect lazy groove, she delivers a familiar lyrical blend of rural / mystic narrative with the same dynamic melodic flair present in a Gentry original. Though often provocative as a lyricist and performer, she’d never before sounded as downright filthy as she does on ”He Made A Woman Out Of Me” or “Find ‘em, Fool ‘em, Forget ‘em”. They’re as hot and sticky as the titles suggest; sweaty swamp-funk examples of the most unaccomplished vocal ‘trick’ of all… sex. Her intonation on the line, “Get a little something on my mind” from Fred Burch and Don Hill’s ”He Made A Woman Out Of Me” can best be described as moist. George Jackson and co-producer Rick Hall’s ”Find ‘em, Fool ‘em, Forget ‘em” is aggravating enough from a male vocalist like Dobie Gray but the gender reversal was outrageous for 1970 and Bobbie’s total immersion into the role of indignant female stalker still sounds socially potent.

Her versatile vocal arsenal remains one of the most impressive in Pop. Neutral narrator or committed protagonist; longing ingenue or broken reject; deadpan comedienne or laughing child. Any type or condition you care to name, all captured with the precisely right amounts of volume, drama and conviction. Her expert shifts in tone, from stroppy anger to rueful tenderness, in Rudy Clark’s barmy gospel waltz, ”If You Gotta Make A Fool Of Somebody”, unearth the true meaning of that misused term ‘soul’. Whatever she sang, whether a two-step polka or a slab of Vegas cheese, Bobbie Gentry was always a soul virtuoso. Here she embodies the term for white-trash, trailer park dwelling, jilted women everywhere.

Balancing the foot stamping and horny abandonment, her two Burt Bacharach covers (”Raindrops Keep Fallin’ On My Head” and “I’ll Never Fall In Love Again”) are flawless models of the sophisticated pop ideal. Her association with this kind of writing hasn’t done her place of importance in the rock hierarchy any favours, but it should have done. Even after the reluctant 1990’s rockist re-evaluation of ‘easy’, the Dylans and Van Morrisons (cough, splutter) still top polls above superior writers and performers whose love of a great chord sequence and a string section has them marginalized.

All of the interpretive nuggets mentioned are up against it having to follow the perfection of the self-written title track. “Fancy” should have been the same worldwide phenomenon as ”Ode To Billie Joe”. Its relative failure must have been down to the risque nature of the subject matter. A song about an ailing, desperate woman sending her daughter off whoring probably didn’t get much daytime airplay. That the characters are unrepentant, with their defiance supported by such a cool, sassy groove made for genius songwriting but little sympathy in Nixon’s corporate, Republican America, 1970.

Fancy should have confirmed Bobbie Gentry as one the foremost songwriters and performers of her time. Of any time.

 (EXCERPT FROM AN ANONYMOUS ONLINE REVIEW)

In 1970, Bobbie Gentry received recognition for the title track of this album ("Fancy"), which rose to No. 26 on the U.S. Country charts and No. 31 on the pop charts. Gentry's personal view on the song:

    "Fancy" is my strongest statement for women's lib, if you really listen to it. I agree wholeheartedly with that movement and all the serious issues that they stand for—equality, equal pay, day care centers, and abortion rights.

The album, as was the case with most of the rest of her post-"Billie Joe" recordings, had modest commercial success. However, it charted top 40 in the Billboard country album chart and netted Gentry a Grammy nomination in the category of Best Female Vocalist.[

For additional historical or discography information on this album, including track listing ►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 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!!!

·                               THE COVER

COVER IS STRONG NEAR MINT,  STILL IN ITS ORIGINAL ►SHRINK WRAP

The following flaws or imperfections are noted on the cover:

-        Cover has a small cutout hole in one of the corners

-         Cover has one corner slightly dinged (nothing significant)

-         Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record),  probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearance to a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.  (nothing significant)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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