GEORGE HARRISON BOB DYLAN BANGLADESH ACETATE ONLY COPY
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· GEORGE HARRISON (WITH BOB DYLAN AND ERIC CLAPTON) – A CONCERT FOR BANGLADESH – ORIGINAL 1971 APPLE CORPS STEREO LP (NO NUMBER; RECORD 3 – SIDES 5 & 6 ONLY)
· ORIGINAL U.S. PRESSING
· *** INSANELY RARE RARE ACETATE OF THIS MONUMENTALLY IMPORTANT MUSICAL AND HISTORICAL DOCUMENT ***
· PROBABLY THE RAREST BEATLES-RELATED PRESSING IN EXISTENCE: ONLY ONE COPY KNOWN!!
· THIS LONE COPY HAS BEEN DOCUMENTED AND SHOWN IN BRUCE SPIZER’S NEW BOOK (“THE BEATLES SOLO ON APPLE RECORDS, PAGE 245). YES, FOLKS, THIS IS THE COPY MIGHTY BRUCE SPIZER DESCRIBED IN HIS BOOK: YOU ARE LITERALLY LOOKING AT IT.!
· THIS IS A LIVE RECORDING OF COLOSSAL, TREMENDOUS HISTORICAL IMPORTANCE: FOR BOB DYLAN, IT WAS A RETURN TO LIVE CONCERT APPEARANCES AFTER A 4-YEAR HIATUS CAUSED BY HIS 1967 CAR ACCIDENT, AND – MORE IMPORTANTLY – RETURN TO HIS POLITICAL ACTIVISM AFTER NEARLY 7 YEARS; FOR GEORGE HARRISON, IT WAS A COMING-OUT-OF-THE-BEATLES’-SHADOW EVENT WHICH NOT ONLY IDENTIFIED THE “QUIET BEATLE” AS A VOICE OF THE WORLD CONSCIENCE AND HUMANISM BUT ALSO SET A TEMPLATE FOR HUMANITARIAN CONCERTS OVER THE NEXT FOUR DECADES. FOR ERIC CLAPTON, IT WAS ONE OF THE LAST PUBLIC APPEARANCES BEFORE HE WOULD SINK INTO A SELF-IMPOSED DRUG-INDUCED OBLIVION (HE WOULD NOT EMERGE FROM IT UNTIL THE 1973 RAINBOW CONCERT) AN EARTH-SHATTERING LIVE CONCERT EVENT, INDEED!
· PLEASE NOTE: THIS 12” ACETATE IS NOT TO BE CONFUSED WITH THE 10-INCH ACETATE OF THE SAME TITLE WHICH HAS BEEN KNOWN TO EXIST FOR YEARS. PRIOR TO THE BRUCE SPIZER’S BOOK, ANY EVIDENCE OF EXISTENCE OF THE 12-INCH VERSION OF THE BANGLADESH ACETATE WAS MERELY ANECTODAL AND APOCRYPHAL. AGAIN, YOU ARE LOOKING AT THE FIRST AND THE ONLY KNOWN, PROPERLY DOCUMENTED COPY OF THIS ACETATE IN EXISTENCE, AND QUITE POSSIBLY THE ONLY COPY THAT EXISTS ANYWHERE IN THE WORLD, PERIOD!
· HOW DOES THIS ACETATE DIFFER FROM THE RELEASED VERSION? WE SHOULD POINT OUT THAT THE DIFFERENCES ARE SUBTLE:- SMALL, BUT NOT ENTIRELY NEGLIGIBLE:
· -THE MOST SIGNIFICANT DIFFERENCE IS GEORGE HARRISON’S BANTER / MUMBLING FOLLOWING THE TITLE TRACK (“BANGLADESH), WHERE HE APPEARS TO BE TALKING TO SOMEONE IN THE GROUP (ERIC CLAPTON?). IT IS HARD TO DISCERN WHAT HE MAY BE SAYING OR WHAT HE WAS TRYING TO CONVEY, BUT THIS BRIEF MONOLOGUE WAS DEFINITELY DELETED FROM ALL SUBSEQUENT, OFFICIAL PRESSINGS OF THE ALBUM
· ANOTHER INDICATIVE, RATHER IMPORTANT DIFFERENCE, WAS IN TRACK LISTING. NAMELY, ON THE BOB DYLAN SIDE, THE GEORGE HARRISON INTRODUCTION OF BOB DYLAN HAS BEEN LISTED AS A SEPARATE TRACK ON THIS ACETATE (FEW SECONDS IN DURATION). WE STRONGLY SUGGEST THAT BOB DYLAN’S APPEARANCE AT THIS CONCERT WAS DEEMED TO BE OF SUCH MYTHICAL IMPORTANCE THAT GEORGE HARRISON (OR SOMEONE AT APPLE) PROBABLY WANTED TO IMMORTALIZE HARRISON’S INTRODUCTION OF BOB DYLAN AS A SEPARATE TRACK. NEEDLESS TO SAY, ON ALL OFFICIAL PRESSINGS OF THE SET, THE SEPARATE INTRODUCTION WAS NOT LISTED, AND WAS MERGED WITH BOB DYLAN’S FIRST CONCERT TRACK (A HARD RAIN’S A-GONNA FALL)
· GREEN APPLE ACETATE LABEL (USED FOR ACETATES ONLY) WITH GREEN BACKGROUND AND WHITE SILHOUETTE OF A SPLIT APPLE WITH TYPEWRITTEN (AND MANUALLY ANNOTATED) TRACK LISTING
· THIS IS THE ACETATE FOR RECORD 3 ONLY (WHICH INCLUDES HARRISON/CLAPTON CONCERT APPEARANCE ON ONE SIDE, AND BOB DYLAN APPEARANCE ON THE OTHER). IT IS HIGHLY QUESTIONABLE WHETHER THE OTHER TWO RECORDS HAVE EVER BEEN PRODUCED AS ACETATES; THE SINGLE-POCKET COVER WITH A PROPRIETARY ‘STERLING STUDIOS’ LABEL APPEARS TO INDICATE THAT THE COVER WAS INTENDED FOR ONE DISC ONLY, AND THAT THE TWO OTHER DISCS EITHER WERE NEVER PRODUCED AS ACETATES, OR WERE PRESSED AND HANDED OUT TO THE ARTIST(S) SEPARATELY.
· CLEAN, WEAR-FREE LABELS; SOME HANDWRITING (TITLE CORRECTIONS) NOTED ON BOTH LABELS.
· THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. (ACETATE) PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT 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!)
Hands down, this epochal concert at New York's Madison Square Garden — first issued on three LPs in a handsome orange-colored box — was the crowning event of George Harrison's public life, a gesture of great goodwill that captured the moment in history and, not incidentally, produced some rousing music as a permanent legacy. Having been moved by his friend Ravi Shankar's appeal to help the homeless Bengali refugees of the 1971 India-Pakistan war, Harrison leaped into action, organizing on short notice what became a bellwether for the spectacular rock & roll benefits of the 1980s and beyond. The large, almost unwieldy band was loaded with rock luminaries — including Beatles alumnus Ringo Starr, Eric Clapton, Badfinger, and two who became stars as a result of their electric performances here, Leon Russell ("Jumpin' Jack Flash"/"Youngblood") and Billy Preston ("That's the Way God Planned It"). Yet Harrison is in confident command, running through highlights from his recent triumphant All Things Must Pass album in fine voice, secure enough to revisit his Beatles legacy from Abbey Road and the White Album. Though overlooked at the time by impatient rock fans eager to hear the hits, Shankar's opening raga, "Bangla Dhun," is a masterwork on its own terms; the sitar virtuoso is in dazzling form even by his standards and, in retrospect, Shankar, Ali Akbar Khan, and Alla Rakha amount to an Indian supergroup themselves. The high point of the concert is the surprise appearance of Bob Dylan — at this reclusive time in his life, every Dylan sighting made headlines — and he read the tea leaves perfectly by performing five of his most powerful, meaningful songs from the '60s. Controversy swirled when the record was released; then-manager Alan Klein imposed a no-discount policy on this expensive set and there were questions as to whether all of the intended receipts reached the refugees (OUR GUESS IS: NOT – op.ed). Also, in a deal to allow Dylan's participation, the set was released by Apple/Capitol on LP while Dylan's label Columbia handled the tape versions. Yet, in hindsight, the avarice pales beside the concert's magnanimous intentions, at a time when rock musicians truly thought they could help save the world.
(EXCERPT FROM AN ONLINE REVIEW BY RICHARD S. GINNELL, ALL MUSIC GUIDE /ALLMUSIC.COM/)
IMPORTANT NOTE: While this acetate is in a BEAUTIFUL state of preservation, we do expect bidders to understand that the aluminum-based, shellac-coated acetates can never be graded by using the exact, same stringent standards used by collectors for modern long-play, hi-fi LPs or singles. The buyer – if not familiar with acetate (reference) recordings - should be cautioned that these discs were intended for brief, limited use only; they were meant to be played only a few times, then discarded or destroyed. In view of this, the surface layer of the disc is manufactured in such a manner that it will wear off pretty quickly, even under normal conditions -- and specially if not handled with due care. Each subsequent playing increases wear and tear of the disc’s surface layer and diminishes the disc’s playability. This disc appears to have been unplayed recently and the grooves are still well-formed and fully visible.
This acetate is in about VG++ TO EXCELLENT , with some minor and superficial scuffs on the surface. Absolutely NO part of the shellac (surface layer) of the disc is missing, and the surface layer is NOT dented, chipped, broken or otherwise compromised.
ON A SCALE FROM 1-10 (where 10 is the best), WE GRADE RECORD AS 8 (DYLAN SIDE) AND 8.5 (HARRISON SIDE)
THIS IS A RESERVE AUCTION
PLEASE NOTE: THIS ACETATE APPARENTLY NEVER HAD A CUSTOM COVER; ACETATES AND REFERENCE PRESSINGS ARE RARELY – IF EVER – FOUND IN CUSTOM (STOCK) COVERS. This acetate will be shipped in its original, plain, generic, white Sterling Sound cardboard cover with proprietary ‘Master Reference’ sticker (NOT SEPARATELY GRADED but in a very nice condition overall)
POSTAGE & SHIPPING:
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