GARY WILSON YOU THINK U REALLY MINT PRIVATE PRESS PSYCH
$
330
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Description
THIS RECORD COMES FROM OUR PERSONAL COLLECTION
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· GARY WILSON – YOU THINK YOU REALLY KNOW ME – MONSTROUSLY RARE ORIGINAL 1977 PRIVATE PRESSING OF THIS LEGENDARY CULT / PSYCHEDELIC / ALTERNATIVE / EARLY ELECTRONICA ALBUM – ORIGINAL MCM RECORDS STEREO 7042N11
· ORIGINAL U.S. PRESSING
· YES, THIS IS THE ORIGINAL, AUTHENTIC, FIRST (GARY WILSON’S PRIVATE) U.S. PRESSING THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
· ORIGINAL, SEMI-GLOSSY, LIGHTLY LAMINATED, THICK CARDBOARD COVER (AMERICAN STYLE)
· ORIGINAL BLACK AND WHITE COVER (THIS IS NOT A REISSUE WITH RED COVER)
· INCLUDES RARE ORIGINAL INSERTS (WHICH ARE ALMOST ALWAYS MISSING FROM THE ALBUM): THE ORIGINAL BLACK & WHITE PHOTO, AND THE TYPEWRITTEN INSERT (LYRICS SHEET)
· CLEAN, WEAR-FREE LABELS
· THICK, HEAVY VINYL PRESSING
(►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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Gary Wilson went to Albert Grossman's Bearsville Studios in Woodstock, New York in 1976, a well-known recording studio that has played host to sessions by Bob Dylan, R.E.M., Patti Smith, The Rolling Stones and many other notable acts. There, Wilson recorded versions of "6.4=Make Out", "Chromium Bitch", "Groovy Girls", and "I Want To Lose Control". He eventually decided that he would prefer to record at his familiar home studio and finished recording You Think You Really Know Me, his first album, in his parents' basement. On this recording, Wilson sometimes played solo and was other times accompanied by a backing band, The Blind Dates. He pressed, distributed, funded and released the album himself. Wilson pressed 300 copies in 1977 and a further 300 copies in 1979 (he now claims that he only has one original copy left in his personal possession from these pressings (AND YES, FOLKS, YOU ARE LOOKING AT ONE OF THOSE INCREDIBLY RARE 600 PRIVATELY PRESSED COPIES. THIS ONE MAY WELL BE THE BEST AND THE FINEST OF THEM ALL, BEING NEAR-PERFECT ALL-AROUND; THE VINYL ACTUALLY LOOKS UNPLAYED, WITH VIRTUALLY NO TRACES OF WEAR AND TEAR)
Wilson’s 1970s concert performances were cited as bizarre and outrageous, a "show that included cellophane, duct tape, bed sheets, fake blood, flour, and milk." So outlandish were the shows that often they would have their electricity cut in attempts to get them to leave the stage. After receiving a small amount of radio play, Wilson decided to try and pursue landing a record deal and moved west to California in 1978. There he recorded three singles, In the Midnight Hour/When I Spoke of Love (1978), Forgotten Lovers E.P. (1979) and Invasion of Privacy (1980). Although he did have some supporters (receiving fanmail during the period from the band The Residents), viable commercial success did not find Wilson. After a 1981 American tour, he retired from the experimental music scene and dropped off the public radar, only to resurface from his retirement in 2001.
(EXCERPT FROM AN ONLINE BIO AT WIKIPEDIA.ORG)
Gary Wilson's You Think You Really Know Me may be the weirdest album released in 1977; it's also one of the most influential. The impact of this quirky lo-fi record can never be truly measured. Not many people are aware of it; however, it inspired Beck's sonic collages and showed college radio stations that home tapings shouldn't be ignored. Wilson recorded You Think You Really Know Me in his parents' basement, and it certainly has an intimate feel. On "6.4 = Make Out," Wilson sounds like he's whispering in your ear. With a voice reminiscent of Lou Reed's, Wilson aches like a sexually frustrated Barry White. Porno-movie synthesizers create a sleazy atmosphere as Wilson reaches new heights of emotional intensity when he bellows, "She's real/She's so real," at the track's end. A person is left wondering if the girl actually exists or if he's just trying to convince himself that she does. Even more unsettling is "Loneliness," wherein Wilson confesses in a distorted, psychotic voice, "Sometimes I wish I were dead," followed by samples of running water and a telephone operator. But this isn't a gloomy LP. "You Keep on Looking" and "And Then I Kissed Your Lips" utilize chirpy new wave keyboards years before they became fashionable. Wilson is having fun on You Think You Really Know Me, and his enjoyment is infectious, especially when his lunatic personality hogs the spotlight. Gary Wilson's You Think You Really Know Me may be the weirdest album released in 1977; it's also one of the most influential. The impact of this quirky lo-fi record can never be truly measured. Not many people are aware of it; however, it inspired Beck's sonic collages and showed college radio stations that home tapings shouldn't be ignored. Wilson recorded You Think You Really Know Me in his parents' basement, and it certainly has an intimate feel. On "6.4 = Make Out," Wilson sounds like he's whispering in your ear. With a voice reminiscent of Lou Reed's, Wilson aches like a sexually frustrated Barry White. Porno-movie synthesizers create a sleazy atmosphere as Wilson reaches new heights of emotional intensity when he bellows, "She's real/She's so real," at the track's end. A person is left wondering if the girl actually exists or if he's just trying to convince himself that she does. Even more unsettling is "Loneliness," wherein Wilson confesses in a distorted, psychotic voice, "Sometimes I wish I were dead," followed by samples of running water and a telephone operator. But this isn't a gloomy LP. "You Keep on Looking" and "And Then I Kissed Your Lips" utilize chirpy new wave keyboards years before they became fashionable. Wilson is having fun on You Think You Really Know Me, and his enjoyment is infectious, especially when his lunatic personality hogs the spotlight.
(EXCERPT FROM AN ONLINE REVIEW BY MICHAEL SUTTON, ALL MUSIC GUIDE /ALLMUSIC.COM/)
For additional historical information on this album, including track listing ►click here
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) WE GRADE THE VINYL AS STRONG 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) The album comes with original inserts: (1) A black & white photo of Gary Wilson and (2) original insert (lyrics sheet)
(d) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
· COVER (PLEASE NOTE: THIS IS THE ORIGINAL BLACK AND WHITE COVER, NOT A RED AND BLACK REISSUE COVER !!!)
THE COVER IS NEAR MINT !
The following flaws or imperfections are noted on the cover:
- Cover has JUST A HINT of ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and 10 being the most severe), we assess the severity of ring wear as 2.
- Cover shows JUST A HINT of yellowing on back side, apparently from aging (nothing significant)
- Minor shelf wear noted on the seams (nothing significant)
NO OTHER IMPERFECTIONS ON THE COVER:
- No split seams
- 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 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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