TIM ROSE MORNING DEW 1st ALBUM VERY RARE STILL SEALED ORIG'67 COLUMBIA STEREO LP

$

26

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·       TIM ROSE – SELF-TITLED FIRST ALBUM (ALSO KNOWN AS "MORNING DEW") – ORIGINAL 1967 COLUMBIA RECORDS STEREO LP CS-9577

·       ORIGINAL U.S. PRESSING

*** STILL SEALED GUARANTEED ORIGINAL FIRST PRESSING ***

·       GUARANTEED ORIGINAL RED AND WHITE COLUMBIA RECORDS "360 STEREO" LABEL , SUCH AS THE ONE SHOWN BELOW, FROM OUR PREVIOUS AUCTION .

·       VERY RARE  ORIGINAL STEREO PRESSING, MANY TIMES RARER THAN MONO (A LITTLE UNUSUAL FOR AN ALBUM RELEASED IN 1967)

·       THE THICKNESS OF THE VINYL, THE APPEARANCE AND THE CONSTRUCTION OF THE COVER, LABEL’S LOGO AND OTHER PERIPHERAL ELEMENTS OF THE COVER, ARE ALL PERFECTLY CONSISTENT WITH THE ORIGINAL, FIRST PRESSING OF THIS TITLE.

·       TWO “BREATHE” (AIR) HOLES NOTED ON THE SHRINK WRAP

·       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

 (►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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Tim Rose's self-titled debut wasn't so much a proper album as a collection of singles, puffed up to LP length by a few other items from sessions done around the time. No less than half of the dozen tracks, in fact, had appeared the previous year on a trio of 1966 singles, including what was by far the most famous of the lot, "Hey Joe." A couple others had appeared earlier in '67 on another 45, and a couple more would be plucked off the LP for another single later that year. Possibly as a consequence, Tim Rose is rather more erratic than most of the records in this feature, both in quality and in style, the compass swinging from traditional folk updates to orchestrated near-blue-eyed soul.

Nevertheless, it contains some significant early folk-rock that was unfairly overlooked both then and now. His voice might have been too gravelly to stand much chance of denting the hit parade, but his slow rendition of "Hey Joe" famously acted as a model of sorts for the arrangement of Jimi Hendrix's far more renowned (and high-selling) debut single at the end of '66. Rose's blustery approach also worked to his advantage on his adaptation of folkie Bonnie Dobson's "Morning Dew" and a bombastic, yet memorably devastating, pass at the ominous nuclear fallout ode "Come Away, Melinda" (which had previously gained its widest hearing via a cover on Judy Collins's third album in 1963). Co-written by Fred Hellerman of the Weavers (who had also recorded it in the early 1960s), it actually wasn't Rose's first go at the tune; he'd cut it a few years earlier as part of the Big Three, the folk trio that also included a pre-Mamas and the Papas Cass Elliot. At the other end of the maze was an unlikely cover of the Barry Mann-Cynthia Weil warhorse "I'm Gonna Be Strong," which had been a massive late-'64 hit for Gene Pitney, and flopped for Rose in late '66 -- though it must be said that Rose's own leather-lunged version isn't half-bad. "That wasn't my idea," the late Rose told me in 2001. "That was, 'Do it or we don't record. We gotta have a single; try this.'"

    As uneven as Tim Rose (which has also been reissued under the title Morning Dew) was, it was really his best shot at stardom. His second album on Columbia -- a major label that really had far too many interesting, not-quite-mainstream artists in the 1960s to grant effective promotion to all or even the majority of them -- made far less of a ripple than even his debut had. Finding more of an audience in England, where he spent his final years, he continued to record intermittently until his death in 2002, never again coming nearly as close as he had to fame with that "Hey Joe" single. About a year-and-a-half before his death, he had this to say about his first album in an interview with me at his local pub in Central London:

TIM ROSE Q&A

Q: What kind of approach were you taking on the material that ended up on Tim Rose?

A:  When I did my first album, I knew exactly what I wanted to do. I wanted to take that core of bluegrass and country and blues, and not copy it, not be like Fleetwood Mac and copy American blues. I didn't want to copy anybody. I wanted to synthesize. But I couldn't. We got close.

Q: You did some recording with Bob Johnston [producer of Bob Dylan, Johnny Cash, Simon & Garfunkel] in the mid-'60s as well that not many people know about.

A: My recording with Johnston was '65. Johnston heard the possibility of this kind of person from the folk with rock. I went down to Nashville with Johnston and did five tracks that [Columbia executive] Clive [Davis] wouldn't release. They've been lost. Clive didn't like what I had done with Johnston, although those opening sessions with Bob Johnston were great, with Area Code 615. The backup singers were the Jordanaires.

    Then I was put with [producer David] Rubinson. And even Rubinson didn't hear it. Finally I found a drummer, Bernard Purdie, who I could communicate with, who wasn't from the old be-bop school of drumming. None of the young drummers then were any good. They were just learning to do it. The John Bonhams and the Aynsley Dunbars and the Mick Fleetwoods had yet to come along. They certainly weren't in New York, I'll tell you that. The bass players, the guitarists who could do that combination of blues and rock, they didn't exist. They just weren't around.

Q: It seems like Columbia wasn't sure what to do with you.

A: On "Hey Joe," I used a twelve-string, I wasn't trying to be rock, I was trying to do my thing. I wasn't a rock and roller. And yet I wasn't folky. That was the problem that CBS had. Clive finally told me in 1968, 'Tim, I know what you're not. I don't know what you are. And we just don't know how to market [you]. What am I supposed to do? I'll either give you your release, or take some time and make another album for us and see if we can do something. I know you've made some great records, but we haven't been able to sell 'em. We don't know what it is. It doesn't seem to fit in the rock, it doesn't seem to fit in the'...you know."

 (EXCERPT FROM AN ONLINE ARTICLE "THE 25 MOST INTERESTING OVERLOOKED 1960s FOLK-ROCK LPs" BY RICHIE UNTERBERGER)

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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)          THE ALBUM IS STILL FACTORY SEALED AND IS BELIEVED TO BE PERFECTLY MINT. Please note: sealed items are assumed to be mint and are sold as-is, as we have no way of inspecting them. For our policy on still sealed records ►click here (PLEASE READ BEFORE PLACING A BID).

(b)          The record is believed to come in its original stock inner sleeve.

(c)           The record is  apparently 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

COVER IS STILL SEALED; HOWEVER, WE ARE UNABLE TO GRADE IT MINT OR NEAR MINT DUE TO MINOR FLAWS LISTED BELOW; WE GRADE THIS COVER AS EXCELLENT OR VG++

The following flaws or imperfections are noted on the cover:

-         Back cover has a few yellowish dust speckles scattered here and there (these can probably be cleaned up easily after the shrink wrap has been removed)

-         Cover has a small cutout hole in one of the corners

-         Cover has a few tiny wrinkles along the spine

-         Cover shows some light yellowing on back side, apparently from aging.

-         Cover has JUST A HINT of 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 1.

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No cut-out corners

-        No saw-marks or indents

-        No writing

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        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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