JACK BRUCE (CREAM) HARMONY ROW RARE ORIG '71 ATCO WHITE LABEL PROMO LP N/MINT

$

21

WE CURRENTLY HAVE  MORE THAN 400  LISTED ITEMS

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·       JACK BRUCE – HARMONY ROW -  JACK’S THIRD SOLO ALBUM (OUTSIDE OF "CREAM") - ORIGINAL 1971 ATCO RECORDS STEREO LP SD-33-365

·       ORIGINAL U.S. PRESSING

·       *** WHITE LABEL PROMO ***

·       *** IN ADDITION, THE PROMOTIONAL STICKER ON THE COVER CLEARLY IDENTIFIES THE ITEM AS PROMOTIONAL ***

·       ORIGINAL ATCO LABEL, WHITE PROMO VERSION.

·       The record has a George Piros’ name or  his initials (GP) clearly stamped or hand-etched in the trail-off vinyl (dead wax)

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL UNIPAK-STYLE COVER (ONE SIDE OF THE GATEFOLD OPENS, THE OTHER ONE IS A SINGLE-PLY CARDBOARD) [THE CONSTRUCTION OF THE COVER IS SOMEWHAT UNUSUAL, AND IS IDENTICAL TO THE ONE FOUND ON JONI MITCHELL’S ‘FOR THE ROSES’ ALBUM OR THE URIAH HEEP'S 'DEMONS AND WIZARDS ALBUM]

·       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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Harmony Row is the legitimate follow-up to Jack Bruce'excellent songs for a tailor, although 1971 also saw the almost-simultaneous release of 1968 jazz tapes entitled Things We Like by this artist. An elaborate gatefold package has a shadow photo of the artist from the back, overlooking a golden sun on the waters. The self-produced disc begins with the pop excursion "Can You Follow," which blends into "Escape To The Royal Wood (On Ice)." Jack Bruce provides the voice, keyboards, bass, and some percussion, making this very much a solo project. "You Burned The Tables On Me" takes things into a progressive rock-meets-jazz arena. The only reference to blues here is Bruce's voice, but guitarist Chris Spedding's scratchy guitar, and the percussion -- either by Jack Bruce or drummer Jim Marshall (who plays on what is not specified) make the track sound almost like Cream without Clapton. There's a rare photo of Peter Brown in the second cardboard gatefold, and one of Bruce, while all of Brown's lyrics are spread out for public consumption. A nice touch, as Peter Brown is to Jack Bruce what Keith Reid is to Procul Harum, and the cleverly obscured words are sometimes the only foundation to grasp at while one of rock & roll's most innovative bassists goes from genre to genre, combining rhythms and melodies that defy commercial categorization. Harmony Row is the album that combines many flavors of Bruce's experimentations, making it courageous, adventurous, and hardly the product for a mass audience. "Folk Song" is barely a folk song; it is a progressive pop tune with that elegant, Procul Harum-like, sweeping, mystical statement. There's a pretty piano against church-like organ and vocals, with amazing guitar embellishments by Chris Spedding. "Folk Song" has elements Bruce would examine again, on the album Monkjack; it's a song which should have made him the darling of underground FM radio. It's a far cry from the all-out assault of his forthcoming power trio, West, Bruce & Laing, which emerged a year after this. The delicacy of "Smiles And Grins" suggests that hard jazz is what would have given the project with Leslie West a much needed diversion. But what happened was that Bruce embraced the trail Mountain stampeded down, while a purer blending of the two would have been re-readings of this Harmony Row material. "Post War" is a good example of how the underappreciated Leslie West could have expanded his influence -- Spedding's contributions are enormous, and like West, he is the only other musician save the drummer on Bruce's essential projects in 1971 and 1972, on the albums Harmony Row, and Why Dontcha. Drummer Jim Marshall appeared on the previous Songs for a Tailor, as did Spedding, though they didn't perform together on that disc. Here, Jack Bruce takes two players from that solo album, and moves them into another head-space. His use of the talents around him is impeccable, and yet another reason why fans should have embraced this quirky and intelligent troubadour. "A Letter Of Thanks" is so complex it borders on The Mothers Of Invention-style of non-groove, while "Victoria Sage" is more in-line with the ideas set forth on Songs for a Tailor, and with exquisite vocals by this tremendous singer. The final track, the tasty, Spanish-influenced "The Consul At Sunset," utilizes multiple percussive ideas with piano and guitars overlapping Peter Brown's words; those words are as important as the contributions from Marshall, Spedding, and Bruce. It's actually quite an amazing transition when set against the other discs released in this four-year period, and a stunning output from a major artist without yielding a Top 40 hit.

 (EXCERPT FROM AN ONLINE REVIEW BY JOE VIGLIONE, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

THE WHITE LABEL PROMO, RADIO STATION-, AUDITION OR DEMONSTRATION COPIES AND RELEASES (such as the one we have here) were often distributed to the radio stations before the record was released to the public, sometimes as much as four months ahead. These records are generally considered to be the "first among equals": the VERY FIRST generation and the VERY FIRST pressings of the particular title; a PROTOTYPE and the earliest known official pressing of the record.

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

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·                               CONDITION:

·                               THE 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  (WEAK) 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)           White Promo Label version of this title is much rarer that a regular, commercially released, version of this title. We estimate that stock copies of this album outnumber promo copies by a ratio of at least 20:1.

(d)          The record comes in a poly-lined inner sleeve, which has - apparently with success - shielded the vinyl from the harmful impact of elements over many years!

(e)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-        Cover has some light 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 3

-        Minor shelf wear noted on the top and bottom seams (nothing significant)

-        Visible shelf wear noted on the spine

-        Cover has a few tiny wrinkles along the seams (BARELY VISIBLE)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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