JETHRO TULL THICK AS A BRICK REPRISE '72 RARE BANDED WHITE LABEL PROMO NEAR MINT
$
91
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Just one of inkFrog's Creations
Description
JETHRO TULL
"THICK AS A BRICK"
PRODUCED BY IAN ANDERSON
WHITE LABEL PROMOTIONAL COPY
ULTRA RARE BANDED DJ VERSION
NEWSPAPER COVER W/DJ TIMING STRIP
WHITE & BLACK LABEL
PROMO TRUE STEREO US ONLY MIXES
REPRISE
MS 2072
THIS IS A NO RESERVE AUCTIONHIGHLIGHTS:
- This is an INSANELY RARE beautiful NEAR MINT US WHITE LABEL PROMO BANDED pressing from 1972 on the THICK VINYL white REPRISE PROMO ONLY label (See photos). One of my favorite Tull albums this one includes Barrimore Barlow on drums for the first time. Ian Anderson writes and produces all the tracks (see label photos for details). Clean high grade US Promo copies do not come up often. How many still exist is anyone's guess. This copy is from my personal collection.
- The Promotional Radio Station DJ, Audition or Demonstration pressings (such as the one in this auction) were often distributed among the radio stations before the record was released to the public, sometimes months ahead of release. They are the 1st presses from the stampers (which means the very first generation and the very first pressing of a particular title). They are usually pressed on superior thick non-flexible vinyl made to withstand the heavier use from radio play. They are considered by many as the earliest known official pressings of the title. There may have only been a few hundred or so of these pressings made in 1972 for radio use and they sound far superior to any other pressings. The TRUE STEREO punch of the promo vinyl is incredible.
- Please take a look at my other Rock, Jazz, Folk, and R & B LP auctions on the A & M, ATLANTIC, ARGO, ATCO, ASYLUM, ABC, BELL, BOLD, CAPRICORN, CHARISMA, CHRYSALIS, COLGEMS, COTILLION, COLUMBIA, DECCA, DUNHILL, ELEKTRA, EPIC, FLEETWOOD, GEFFEN, IMMEDIATE, ISLAND, KING, LONDON, MANTICORE, MERCURY, MGM, MCA, RCA, REPRISE, RHINO, ROULETTE, SMASH, TAKOMA, UNI, VANGUARD, VEE JAY, UNITED ARTISTS, WINDFALL and WARNER BROTHERS labels.
Jethro Tull are a British progressive rock group formed in Luton, Bedfordshire, in December 1967.[1] Their music is characterised by the vocals, acoustic guitar, and flute playing of Ian Anderson, who has led the band since its founding, and the guitar work of Martin Barre, who has been with the band since 1969, after he replaced original guitarist Mick Abrahams. Initially playing experimental blues rock, they later incorporated elements of classical music, folk music, jazz, hard rock and art rock into their music.[2] During a career that has spanned more than forty years, Jethro Tull have sold more than 60 million albums worldwide.
Ian Anderson started his first band, the Blades, in Blackpool, England in 1962. The group featured Anderson on vocals and harmonica, Jeffrey Hammond on bass, John Evans on drums, and a guitarist named either Hipgrave or Michael Stephans.[3] Drummer Barrie Barlow became a member in 1963 after Evans had switched from drums to piano.[4] By 1964 the band had developed into a seven-piece Blue-eyed soul band called the John Evan Band (later the John Evan Smash). By this point Evans had shortened his surname to "Evan" at the insistence of Hammond, who thought it sounded better and more unusual.
In 1967, the band moved to the London area, basing themselves in nearby Luton;[1] they also travelled to Liverpool. However, money remained short and within days of the move most of the band quit and headed back north, leaving Anderson and bassist Glenn Cornick (who had replaced Hammond) to join forces with blues guitarist Mick Abrahams and his friend, drummer Clive Bunker, both from the Luton-based band McGregor's Engine.[5] At first, the new band had trouble getting repeat bookings and they took to changing their name frequently to continue playing the London club circuit. Band names were often supplied by their booking agents' staff, one of whom, a history enthusiast, eventually christened them "Jethro Tull" after the 18th-century agriculturist. The name stuck because they happened to be using it the first time a club manager liked their show enough to invite them to return.[6] They were signed to the blossoming Ellis-Wright agency, and became the third band managed by the soon-to-be Chrysalis empire. It was around this time that Anderson purchased a flute after becoming frustrated with his inability to play guitar like Eric Clapton.
After auditions for a replacement guitarist in December 1968, Anderson chose Martin Barre, a former member of Motivation, Penny Peeps, and Gethsemane, who was playing with Noel Redding's Fat Mattress at the time. Barre was so nervous at his first audition that he could hardly play at all, and then showed up for a second audition without an amplifier or a cord to connect his guitar to another amp.[5] Nevertheless, Barre would become Abrahams' permanent replacement on guitar and the second longest-standing member of the band after Anderson. Another contender for the job, Steve Howe, later guitarist with Yes, failed to pass his audition.
This new line-up released Stand Up in 1969, the group's only UK number-one album. The LP unfolded to a photo insert of the band attached to the covers like a pop-up book. Written entirely by Anderson – with the exception of the jazzy rearrangement of J. S. Bach's Bourrée in E minor BWV 996 (fifth movement) – it branched out further from the blues, clearly evidencing a new direction for the group, which would come to be categorised as progressive rock alongside such diverse groups as Pink Floyd, King Crimson, Genesis, Camel, The Nice, Gentle Giant, and Yes. A couple of months prior to the sessions for this album, the band recorded one of their best-known songs, "Living in the Past", which was originally issued only as a single. Despite its unconventional 5/4 time signature, the song reached number three in the UK charts. Although most other progressive groups actively resisted issuing singles at the time, Jethro Tull had further success with their other singles, "Sweet Dream" (1969) and "The Witch's Promise" (1970), and a five-track EP, Life Is a Long Song (1971), all of which made the top twenty. In 1970, they added keyboardist John Evan (initially as a guest musician) and released the album Benefit (1970).
Thick as a Brick was considered by some to be Jethro Tull's first progressive rock offering,[6] coming four years after the release of their first album (1968). The epic album is notable for its many musical themes, time signature changes and tempo shifts — all of which were features of the progressive rock scene. In addition, the instrumentation includes harpsichord, xylophone, timpani, violin, lute, trumpet, saxophone, and a string section—all uncommon in the band's earlier blues-inspired rock.
During the early 1970s, Jethro Tull went from being a progressive blues band to becoming one of the largest concert draws in the world. In concert, the band were known for theatrics and long medleys with brief instrumental interludes. While early Jethro Tull shows featured a manic Anderson with bushy hair and beard dressed in tattered overcoats and ragged clothes, as the band became bigger he moved towards varied costumes. This culminated with the War Child tour's over-sized codpiece and colourful costume.(Wikipedia)
Bid according to the condition stated below
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- Mint = A mint item must be absolutely perfect. Certainly never been played if not still sealed. This would be an item where it was opened but not played maybe just to check the label variation.
- Near Mint = The record shows no obvious signs of wear. The vinyl should show no wear from playing only the slightest of paper scuffs are acceptable. The jacket should look as if you just got it home from a new record store and removed the shrink-wrap.
- Near Mint-/Very Good++ = The record or cover is clearly better than VG+ but not Near Mint. There should be some signs that the vinyl was played infrequently and otherwise handled by a previous owner who took excellent care of it. Record surfaces may show some slight signs of wear and may have light scuffs and or very minor light scratches that do not affect the listener experience at all. The label and spindle hole will be without flaws other than the lightest of spindle trails from being played only a few times if at all. The cover should be bright and sharp and will have only the very first evidence of discoloration or ring wear or creased corners. Although there may be some evidence of seam/spine wear, seam splits are not permitted for this grade. The jacket may be marked as a cut out by a drill hole, saw mark, cut corner or punch hole. I will try to list any cover flaws of significance.
- Very Good+ = This is equivalent of the VG+ grade in Goldmine. The record will show signs that the vinyl was played but taken care of. Record surfaces will show signs of wear including some light scratches/scuffs that do not significantly affect the listener experience. Slight warps that do not affect the sound are OK. Spindle holes will have some wear but not be enlarged or damaged in any way. The cover will have general wear/ring wear but not to the extent that it materially impairs enjoyment of the picture cover. Slight seam splits are OK for this grade. Again I will try to list any cover flaws of significance.
- Very Good = Unless it is a rare collectible, I usually will not sell records where both the cover and vinyl are below a VG+ grade PERIOD. This grade is included since some times there may be either a cover or record that the flaws in VG+ grade above are more pronounced but the other part of the package is of a higher grade. If it is the vinyl I will play grade it to be sure that the listener can still enjoy the music.
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Record Condition: Side 1 & 2: Near Mint ...the promo REPRISE vinyl is clean and has full Like New gloss and looks un-played. The beautiful SNOW WHITE promo REPRISE labels are without wear, writing, stains, stickers or tears (See photos). I doubt nicer promo vinyl can be found for this title.
Cover/Jacket Condition: Very Good+ ...the original newspaper cover has vibrant colors and only shows just the beginning of wear and light age browning (see photos). The white DJ timing strip on the front is clean without any tears or writing (see photos). The seams are intact with light corner wear (see photo) . The news paper is intact and clean with no writing even on the connect the dots photo (see photos). The spine is intact and lettering sharp (see photo). This is a beautiful cover for the promo vinyl (see photos).
Thanks for looking!!!
WHY BID ON THIS ITEM?
HERE'S WHY!
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UNDERSTANDABLE GRADING DESCRIPTIONS My cover/vinyl condition descriptions have NO AMBIGUOUS TERMS Words such as "JUST A HINT OF, ASSUMED TO BE, COULD BE, SHOULD NOT, MAY HAVE, MIGHT BE, BELIEVED TO BE, USUALLY, PROBABLY, BARELY, FAIRLY INSIGNIFICANT, MODERATELY VISUALLY DISTRACTING, WE ESTIMATE, OR WE SUSPECT THAT" do not exist in my descriptions. CLEAR PHOTOS My listings always include individual front cover, back cover (both showing the seams) and record label photos at a minimum, with no CROPPING or RETOUCHING EVER. SATISFACTION GUARANTEED RETURN POLICY No once in a lifetime return policy gauntlets to navigate through, no debates, no questions, no hassles, no problems. THE ULTIMATE GOAL Know what you are bidding on! It REALLY is the only way to bid! Don't you agree! BID WITH CONFIDENCE! PLEASE SEE THE PICTURES INCLUDED IN THIS LISTING WHAT YOU SEE IS WHAT YOU GET GUARANTEED! All images shown are ACTUAL PHOTOS OF THE ITEM you are bidding on. NO recycled photos of better condition copies from prior auctions to confuse you.
Vinyl Grading Policy:
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