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· ROLLING STONES with RY COODER, DAVE MASON, NICKY HOPKINS AND OTHERS - BEGGARS BANQUET - ORIGINAL 1968 LONDON RECORDS STEREO LP PS-539
· ORIGINAL U.S. PRESSING
*** STILL SEALED GUARANTEED ORIGINAL FIRST PRESSING ***
· NOTE: THIS IS THE VERY FIRST PRESSING, WHICH GIVES SONGWRITING CREDITS FOR ALL SONGS ON BOTH RECORD LABELS AND THE COVER TO JAGGER-RICHARD (LATER PRESSINGS CORRECT THIS TO CREDIT REV. WILKINS FOR “PRODIGAL SON”)
· ORIGINAL FIRST VERSION OF THE COVER (DOES NOT MENTION REV. WILKINS ON THE BACK COVER)
· GUARANTEED ORIGINAL DARK-BLUE LONDON STEREO LABEL WITH WITH “BOXED” (FRAMED) LONDON LOGO, SILVER PRINT AND “STEREOPHONIC” BANNER ACROSS THE LABEL’S CENTER (MID-TO-LATE 60’s STYLE); THE LABELS YOU WILL FIND INSIDE WILL (ERRONEOUSLY) CREDIT ALL SONGS TO JAGGER-RICHARD, AS FOUND ON FIRST PRESSINGS ONLY.
· 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.
· THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
· ORIGINAL GATEFOLD COVER, MADE OF THICK CARDBOARD (AMERICAN STYLE)
· ORIGINAL SONGWRITING AND PRODUCTION CREDITS ON THE BACK COVER ARE SPLIT IN SIX LINES (NOT FOUR, AS FOUND ON LATER PRESSINGS)
· 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!)
Returning to their blues-based roots rock following the psychedelic pop of their 1967 album, Their Satanic Majesties Request, Rolling Stones hit their true artistic stride with Beggars Banquet. While most critics heralded this album as a “return to form” due to the predominance of blues-based roots rock, it was also a significant leap forward. This album began the group’s highest quality musical era, followed by Let It Bleed in 1969 and Sticky Fingers in 1971, which expanded the musical formula established on this album. Still, with a solid slate of compositions and top-notch production by Jimmy Miller, Beggars Banquet may be the group’s finest album ever.
The album’s production saw a major shift in responsibilities. Miller described guitarist Keith Richards as “a real workhorse”, co-writing most of the material and often recording multiple parts on each track. This was mostly due to the infrequent presence of group founder Brian Jones, who had been a major influence on the sound of past albums but had begun to behave erratically due to his drug use and emotional problems. Jones could never really be relied on and would show up when he was in the mood to play, often being more of a distraction than an asset.
Although the album was not released until December 1968, much of it was recorded in the early part of the year. These sessions also resulted in the non-album single “Jumpin’ Jack Flash”, one of the group’s most popular and recognizable songs. Written by Richards and lead vocalist, Mick Jagger, the song employs an infectious riff and opaque lyrics which may have been inspired by William Blake’s poem The Mental Traveller. Released in May 1968, the song previewed the sound of the upcoming Beggars Banquet album.
The tribal rhythms signify from the start that this is album is a unique listen. Largely a Jagger composition, the lyrics are a first-person narrative from the point of view of Lucifer, traversing infamous historical moments right up to the (then) present day with the line “I shouted out ‘Who Killed the Kennedys?'” put in just days after Robert Kennedy’s assassination in June 1968. This is all backed by an intense rock arrangement, which builds on the percussive rhythms with piano by Nicky Hopkins and a repeated chorus yelps of “woo woo” by group members and several studio guests.
“No Expectations” is a simple and beautiful acoustic blues song, which sets the table for future Stones ballads such as “You Can’t Always Get What You Want”, “Wild Horses” and “Angie”, Jones plays an acoustic slide guitar above the strumming by Richards in this melodic quasi-tribute to Robert Johnson. This is followed by “Dear Doctor”, an almost farcical attempt at blue grass which, despite its use of authentic instrumentation, feels really forced and out of place.
“Parachute Woman” is pure blues with simple rhythm topped by distant electric guitar and a raw and murky atmosphere led by Jagger’s mumbled sexual lyric and intense harmonica playing. “Jigsaw Puzzle” bookends the first side of Beggars Banquet with another extended rock highlight. The music is led by the very strong rhythm of drummer Charlie Watts and bassist Bill Wyman, who are joined in turn by Richards’ slide guitar, Jaggar’s strummed acoustic, and Hopkins’ honky-tonk piano. It constantly builds in intensity though its six minute duration with Dylan-esque lyrics and vocal patterns.
The second side begins with “Street Fighting Man”, the point on the album where Jagger shines brightest, with this great melodic journey throughout interpreting some politically controversial lyrics. The tune is a basic rock song built on a cassette recording of Richards on acoustic guitar and Watts on a 1930s toy drum set. However, it does morph a bit towards a more psychedelic feel near the end, with Jones performing a distinctive sitar and tamboura. Robert Wilkins’ “Prodigal Son” is the only cover on the album and it never relents from its acoustic drive and has a great sound right down to Jagger’s hickish vocals.
Compared to the other fine material on side two, “Stray Cat Blues” is a rather ho-hum rocker, aside from the interesting and intense outro with Watts’ fine drumming. “Factory Girl” works well as an ethnic jam with a three chord, piano-driven pattern. It is similar to an Appalachian folk tune in its minimal approach and features guest Ric Grech on fiddle. “Salt of the Earth” provides a melodramatic conclusion to the album as another acoustic ballad. The highlight of the song comes at the bridge, which is followed by the first full rock arrangement. Although this track contains some production flaws, it is still a great ending to the album.
Beggars Banquet reached the Top 5 on charts on both sides of the Atlantic. Within days of its release, the band filmed the full television production of Rolling Stones Rock and Roll Circus where they performed several songs from the album. The show also featured several contemporary guests such as The Who, Jethro Tull, John Lennon, and Eric Clapton, and was originally meant to be aired on the BBC. However, the Rolling Stones withheld it because they felt their own performance was substandard and it wasn’t released in any form until 1996.
(EXCERPT FROM AN ONLINE REVIEW BY THE ROLLING STONE MAGAZINE)
The Stones forsook psychedelic experimentation to return to their blues roots on this celebrated album, which was immediately acclaimed as one of their landmark achievements. A strong acoustic Delta blues flavor colors much of the material, particularly "Salt of the Earth" and "No Expectations," which features some beautiful slide guitar work. Basic rock & roll was not forgotten, however: "Street Fighting Man," a reflection of the political turbulence of 1968, was one of their most innovative singles, and "Sympathy for the Devil," with its fire-dancing guitar licks, leering Jagger vocals, African rhythms, and explicitly satanic lyrics, was an image-defining epic. On "Stray Cat Blues," Jagger and crew began to explore the kind of decadent sexual sleaze that they would take to the point of self-parody by the mid-'70s. At the time, though, the approach was still fresh, and the lyrical bite of most of the material ensured Beggars Banquet's place as one of the top blues-based rock records of all time.
(EXCERPT FROM AN ONLINE REVIEW BY RICHIE UNTERBERGER, ALL MUSIC GUIDE /ALLMUSIC.COM/)
For its extraordinary contribution to the modern music, superb production, craftsmanship, fine musicianship, revolutionary significance and influence it exerted on numerous generations of musicians, writers and general public, or for some other innate quality, this album was voted one of top-200 albums of all time in one of the largest poll of critics, music reviewers, professionals and producers ever organized: the poll, which was conducted by Paul Gambaccini, legendary BBC Radio A&R man, surveyed more than 50 top music professionals (including Roy Carr, Jonathan Cott, Robert Christgau, Cameron Crowe, Chet Flippo, Ben Fong-Torres, Charlie Gillett, Greil Marcus, Murray the K., Lenny Kaye, Bruce Morrow (a/k/a "Cousin Brucie"), Tim Rice (of "Jesus Christ Superstar" and "Evita" fame), Lisa Robinson, Robert Shelton (who wrote liner notes for Bob Dylan's first album), Ed Ward, Joel Whitburn, Pete Wingfield, etc.). For more details, see: "Critics Choice: Top-200 albums" compiled by Paul Gambaccini, Omnibus Press, Library of Congress Catalog No.7855565 (or ► for the complete album listing).
Finding a still sealed original copy of this Rolling Stones MASTERPIECE?!?! Forget it – not even a HOPE!!! This may be the last one you will ever see.
For additional historical or discography information on this album, including track listing ►
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(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 ►.
(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 IS NEAR MINT, STILL SEALED AND COVERED IN ITS ORIGINAL ►SHRINK WRAP (A TINY PIECE OF SHRINK WRAP IS MISSING)
The following flaws or imperfections are noted on the cover:
- Cover shows some light yellowing on both sides, apparently from aging (nothing significant)
- 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 (front side) and 2 (back side)
- Cover has one corner slightly worn / dinged (nothing significant)
- Minor shelf wear noted on the top seam (nothing significant)
NO OTHER IMPERFECTIONS ON THE COVER:
- No split seams
- 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 wrinkles or creases
- 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.
POSTAGE & SHIPPING:
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