MOOLAH DEMON POSSESSED INSANELY RARE ORIG AUTOGRAPHED CULT ACID TEST PRESSING LP

$

39

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·       MOOLAH - WOE YE DEMON POSSESSED - ORIGINAL 1974 DRUIDSTONE RECORDS STEREO LP (NO VISIBLE NUMBER)

·       ORIGINAL U.S. PRESSING

·       PERSONALLY AUTOGRAPHED ON BOTH LABELS AND ON THE INNER SLEEVE BY BOTH ORIGINAL DUO MEMBERS: (WALTER BURNS AND MAURICE ROBERSON) AND DEDICATED ON THE INNER SLEEVE TO THE LEGENDARY RECORD COLLECTOR AND DEALER, THE LATE, GREAT ►BILL PAQUIN OF THE PRINCETON RECORD EXCHANGE (THE ALBUM COMES FROM HIS PERSONAL ESTATE) – PLEASE SEE THE MAGNIFIED DETAIL OF THEIR SIGNATURES ON THE ATTACHED IMAGES)

·       ULTRA-RARE TEST PRESSING - ONE OF ONLY 10 COPIES MADE (PLEASE SEE MAURICE ROBERSON'S HANDWRITTEN NOTE ON THE LABEL

·       ORIGINAL BLANK TEST PRESSING (DRUIDSTONE) LABEL, WITH ONLY THE DUO'S HANDWRITING ON THE LABELS

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

·       ORIGINAL, GENERIC (WHITE) THICK CARDBOARD COVER, WITH ONLY THE NAME OF  THE GROUP SCRAWLED OVER IT.

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

·       THE RECORD HAS A 'STERLING' STAMP IN THE TRAIL-OFF VINYL (DEAD WAX) AREA, WHICH IS GENERALLY CONSIDERED A PROOF OF AUTHENTICITY OF THE FIRST PRESSING.

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

·       PLEASE NOTE: THE MATRIX NUMBER IN THE TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD IS CONSISTENT WITH THE ORIGINAL, FIRST, 1974 PRESSING OF THIS ALBUM

(►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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Amazing !!! An unbelievable piece: What we have here is an unheard-of TEST PRESSING of this cult American kraut/prog masterpiece.  While many test pressings often have alternate or demo- versions of known, later released songs, and while it is possible that this particular test pressing contains demo or alternate versions of some of the tracks, please don’t take our word that it does:

PLEASE NOTE: THIS TEST PRESSING APPARENTLY NEVER HAD A CUSTOM COVER;  THE ALBUM WILL BE SHIPPED IN A PLAIN, GENERIC [WHITE] CARDBOARD COVER. TEST PRESSINGS ARE RARELY – IF EVER – FOUND IN CUSTOM (STOCK) COVERS.

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To put it succinctly, this is America’s Krautrock album. The real deal, circa 1974, not a revisionist history job, or a cheap hipster imitation. Moolah were the duo of Walter Burns and Maurice Roberson, who play a variety of keyboards, percussion, voices/tapes, anything that looked like an instrument, and other found sounds. And, naturally, all blown through the funz-a-poppin’ blender of studio trickery (backwards masking, phasing, filtered, you name it, it’s here). This is the type of album to compel Julian Cope to write volumes to the gods at the top of ziggurats. If I were half the writer Cope was, I would have a blast describing the imaginary movie that this soundtrack inevitably goes with. If someone blindfolded me, and said "Check out this unreleased Annexus Quam album that was to be originally issued on Ohr", I would’ve believed it! For a slice of pure underground subversive America, via Greenwich Village, you absolutely can’t go wrong with Moolah.

 (EXCERPT FROM AN ANONYMOUS  ONLINE REVIEW)

Straight from the sub-subterranean collective basement patronized by all of the world’s greatest psychotic (ehh-hm visionary) artists comes another ultra obscure gem going by the name of Woe Ye Demon Possessed by the group(?)/or maybe it’s just a regular old dude with a rack of wacky effects, Moolah. Think about that name. Moolah. What comes to mind, friends? I personally conjure images of bone in the nose voodoo mamas twirling in some swamp drug ecstasy. Maybe that comes from my association of the word Moolah with that famous female wrestler The Fabulous Moolah; not that that matters. I’m just typing to type at this point. You know, taking up space to make this look more profound than it really is.

Alright, back to the topic at hand. Moolah – Woe Ye Demon Possessed. I know nothing about this LP. I don’t know its history, who made it, what city it was made in (it is from the good ole’ Stars and Stripes, but one could very easily assume Deutschland). This makes for some very compelling mystery. I do know that there is a great buzz among collectors of rare psych records. So, naturally, being the conformist that I am, I too decided to hop on that kaleidoscopic, day glo bandwagon with the rest of the damned. This was a good decision on my part because Woe Ye Demon Possessed is pretty frakin’ awesome and in dire need of a cd reissue.

Seeing as how there’s no prominent data on the recording (even on the almighty internet), I gathered as much as I could from the cover; it’s that famous evil eye over the American dollar with the Latin phrase. I don’t even know how to order a beer in classical Latin. So I’m not about to feign a bullshit translation. One might assume that this somehow relates to wacky conspiracy theories about the Freemasons/ Bilderberg Group ad barfum. I don’t subscribe to that. I would guess it’s an ode of sorts of to the race of aliens who helped guide the Egyptians in their constructive efforts, the eye symbolic of their observations and inevitable return to Mother Gaia. There’s also that superb title Woe Ye Demon Possessed: the man enlightened with the knowledge of his extra terrestrial guardians is the one who’s possessed. (Perhaps not alien beings, but the one who’s possessed with the omniscient powers of the psychotrope is possessed, etc.)

On to the music! The only proper appellative I could grant would be – “a lost field recording made by an ‘animistic’ alien enlightened tribal people who somehow had the ability to bend time.” That’s an incredibly pretentious way of putting it. In non wacko terms I can hear a strong Faust 1, Guru Guru and Ash Ra Tempel influence. Just add a twist of ultra lo fi and a sprinkle of Texas garage psych and you have something similar to the finished product. I’ve often suffered with many sleepless nights where I asked myself, “Damnit! When am I going to hear an American record with a distinct kosmische influence? When? Why God? Why?” Well, I think the Lord above answered my prayers and blessed with me this LP.

It starts off with a profound, deity invoking bang with “Crystal Waters”, a ritualistic piece that sounds as though it should be played on a ziggurat prior to a human sacrifice. If The Tempel was playing garages in the late 60’s, this would have been the product: Schulze synths on speed, heart beat drums, ancient keys. Great stuff. Follow that with a schizophrenic outburst/psycho-delic exorcism, “Terror Is Real”, and then a buried on the ocean floor fuzz hum bar room piano, “Courage”. You have one kick ass album side.

Side two is also profoundly sublime. Both “The Hard Hit” and “Mirror’s” follow the same unsettling bleeping buzz synth, chanting voices from another dimension pattern. It all builds up into crazy tension. I feel as though I’m at a séance of sorts. Plus, “The Hard Hit” features some weird kinda’ sorta’ motornik drums before they go off into the great beyond with those creepy voices. The last track “Redemption” brings back the piano and anachronistic radio fuzz. It calms everything down, leaves you staring off into space waiting for the redeemers themselves to finally land.

All in all, I found this to be a fabulous recording, a great shining diamond in the rough. Krautfreaks will agree too.. Happy hunting. It’s well worth the chase, friends.

 (EXCERPT FROM AN ONLINE REVIEW BY JULIAN COPE PRESENTS HEAD HERITAGE)

For additional historical information on this album, including track listing ►CLICK HERE

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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  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 (minor 'hairline' scuff noted on track B2)

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

COVER : This reference pressing comes without any custom jacket, and will be shipped in its original plain, generic, white cardboard cover with a typewritten data sheet attached (NOT GRADED SEPARATELY, BUT IN A NICE CONDITION OVERALL)

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POSTAGE & SHIPPING:

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