KILLING FLOOR LED ZEPPELIN-LIKE BLUES PSYCH 1st ALBUM RARE ORIG '70 SIRE LP N/M

$

78

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·       KILLING FLOOR – ULTRA-RARE SELF-TITLED FIRST ALBUM (“KILLING FLOOR”) –ORIGINAL 1970 SIRE RECORDS STEREO LP SES-97019

·       ORIGINAL U.S. PRESSING

·       ORIGINAL WHITE, PINK AND AQUA-BLUE SIRE LABEL, LATE '60s STYLE.

·       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)

·       THICK, HEAVY VINYL PRESSING-

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1/-1'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

·       THE RECORD HAS  'BELL SOUND'  STAMP IN THE TRAIL-OFF VINYL (DEAD WAX) AREA, WHICH IS GENERALLY CONSIDERED A PROOF OF AUTHENTICITY OF THE FIRST 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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Original from South London, guitarist Michael Clarke, keyboardist Lou Martin, bassist Stewart MacDonald, drummer Bas Smith and singer Bill Thornycroft came together in 1968. As Killing Floor they started out as a blues cover band, eventually working some original material into their repertoire. Rather than immediately hitting the club circuit, they spent several months rehearsing, eventually attracting the attention on DJ John Edward who signed on as their manager. Edward's connections helped land the band a series of opening slots for name acts such as Chicken Shack and Ten Years After. They also supported blues man Freddie King on a pair of English tours.

With their blues orientation and the buying public's sudden addiction to the genre, you would have thought a major label would've jumped at a chance to sign them. It didn't happen. Attempts to attract major labels were all failures, leaving the band to eventually sign with the newly formed Spark Records (manager Edwards had a publishing deal with the company starting the label). Signed by Spark (London's newly formed Sire label acquiring American distribution rights), the quintet made their recording debut with 1969's Edwards produced "Killing Floor" (congrats for sporting one of the year's most disturbing covers). Musically material such as "Nobody By My Side", "Come Home Baby" and "Bedtime Blues" was straight-forward English blues. Thornycroft had a nicely ragged voice that was well suited to the genre. Keyboard player Martin (check out the harpsichord instrumental "Sunday Morning") and guitarist Clarke were both major talents. That said, nothing here was particularly original; in fact you were left with the odd feeling you'd heard some of this stuff before. Perhaps explaining that feeling, in an interview guitarist Clark confessed the band was originally planning on recording a set classic Chicago blues songs, but once in the studio were told they had to record original all material. In a panic Thornycroft rewrote the lyrics, the band rearranging much of the material to give it a half-legitimate claim to being original. Still, anyone into John Mayall and the Bluesbreakers, or early Fleetwood Mac will certainly take a shine to the LP.

***

Listening to Killing Floor's debut LP today -- essentially rearranged Chicago blues songs given a bombastic heavy rock treatment -- you cannot dismiss the impact and influence of Led Zeppelin's self-titled debut, which was released six months earlier, in January 1969. The band's fledgling label, Spark, decided to them record "original" material during sessions in Pye Recording Studios, so vocalist Bill Thorndycraft  reportedly spent several days thereafter in the studio's restroom, where he reluctantly rewrote all the group's lyrics. The only song that didn't end up as an "original" was their cover of Willie Dixon's "You Need Love" (retitled "Woman You Need Love"), the same song later purloined by Led Zeppelin for "Whole Lotta Love." The next track, "Nobody By My Side," repeats the same two-line riff from Zeppelin's "How Many More Times," which had been purloined by Zeppelin from Albert King's "The Hunter." "Come Home Baby," a honky tonk blues original, features pleasant ivory-tickling by Lou Martin (this song was later covered by bluesman Jimmy Witherspoon on Spoonful of Blues). The hymn-like "Sunday Morning" features Martin  on harpsichord. Much of the rest of the album continues along in the same fashion. There are the occasional sloppy mistakes, both in the playing and the album's production, but, all in all, Killing Floor  is a fine collection of B-level British blues-rock. The cover artwork -- a photo depicting jail cell doors with symbolic red ink splashed around like blood -- was changed for the original American release on Sire [NOTE: In fact, this claim is not true. Contrary to popular belief, the original American covers were NOT censored in any shape, manner or form. The shocking blood stains on the prison floor are still fully and completely visible on the American release, but the superimposed brown background makes them less pronounced and less shocking than on the European versions of the covers  -- op.ed].

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

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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  (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 comes in the original stock inner sleeve.

(c)             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!

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

·       COVER

THE COVER IS ABOUT VERY GOOD+(+)

The following flaws or imperfections are noted on the cover:

-         Cover has some ring wear.  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 4  (front side) and 5 (back side).

-         Cover shows JUST A HINT of yellowing on back side, apparently from aging.

-         Cover has a partially split spine (less than 1 inch / 2.5 centimeters)

-         Cover has two corners slightly worn / frayed / bent (just a beginning of the split seam)

-         Cover has some visible fraying/tattering on the bottom seam and spine

-         Cover has a few tiny wrinkles along the spine  (VISIBLE ON BACK SIDE ONLY)

NO OTHER IMPERFECTIONS ON THE COVER:

-        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 writing

-        No stamps

-        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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