Sold Date: December 4, 2016
Start Date: November 29, 2015
Final Price: $24.99 (USD)
Seller Feedback: 1410
Buyer Feedback: 56

This LP will be shipped within 36 hours, if not sooner, with your confirmed payment.

We are offering an Extremely Rare Still Factory Sealed original issue of Jackie Lomax's LP titled
"Is This What You Want" Released on Apple Records Catalog Number ST-3354

The copy you are buying here is factory sealed… the photos of the opened copy are of my "keeper" copy and are only pictured here to show you (the buyer) what is on the inside of your sealed copy!

This album is in TOP condition and is still FACTORY SEALED.

Long out of print and extremely difficult to find sealed… 47 years later!

This will only accrue in value in the years to come...

Will be shipped in a custom, well-padded box with 2 CARDBOARD STIFFENERS to protect and prevent ANY damage.

A bit of history...

Is This What You Want? is an album by English rock and soul singer Jackie Lomax, released in 1969 on the Beatles' Apple Records label. It was produced by George Harrison – although the US version included Lomax's self-produced "New Day", a non-album single in the UK – and features contributions from Harrison's fellow Beatles Paul McCartney and Ringo Starr. The album was not a commercial success and has become more notable for its array of well-known backing musicians than for the songs themselves. Much of Is This What You Want? was recorded in Los Angeles with members of the Wrecking Crew, while other participants on the London sessions include Eric Clapton, Nicky Hopkins, Klaus Voormann and John Barham. Lomax wrote all the songs on the album bar the Harrison-penned "Sour Milk Sea", which was Lomax's debut single on Apple, released in August 1968.

Background
A fellow Liverpudlian, Jackie Lomax signed to the Beatles' Apple Publishing as an in-house songwriter in 1967, writing songs and recording demos at the company's original headquarters, on Baker Street in central London. John Lennon was the first to suggest he should consider becoming a solo artist, and with the formation of Apple Records in early 1968, George Harrison committed to producing an album by Lomax on the new label. Lomax later admitted he was concerned that the album might never get made since he was unsure whether Harrison would ever come back from India, where the Beatles were attending the Maharishi's Transcendental Meditation course in the early months of 1968.
Harrison was the last Beatle to return from India, on 21 April, after which he and Lomax ran through material intended for the album at Harrison's Esher bungalow, Kinfauns. Lomax recalls first hearing the song "Sour Milk Sea" there, played by Harrison on acoustic guitar with Lomax accompanying on bass. Among Lomax's own material was the Motown-inspired "Speak to Me", and "Is This What You Want?", a song that has been described as both bearing a close resemblance to the Beatles' "I Am the Walrus", and, conversely, pre-empting the similar-sounding "Come Together" by a full year.
Production
London, summer 1968
Recording for Is This What You Want? began at London's Abbey Road Studios in June 1968 and continued through the summer in between Harrison's work on the Beatles' White Album (1968). While working alone at Trident Studios, down the hall from where the band were recording, Lomax was invited to add backing vocals to "Dear Prudence" in late August; he had also joined the backing chorus for "Hey Jude" earlier that month. Among the guest musicians on Lomax's London sessions, much of which would go unused, were Eric Clapton, Ringo Starr, Nicky Hopkins, Klaus Voormann and Paul McCartney. Less well-known participants included drummers Bishop O'Brien and Pete Clark, the former was part of Apple artist James Taylor's backing group, while Clark was the drummer for Lomax's "house" band, with whom Lomax performed a handful of London gigs during this period.
Los Angeles, October–November 1968


George Harrison (left, with Don Grierson), in Los Angeles in October 1968
Following the completion of the White Album, Harrison and Lomax left for Los Angeles to carry out further work on Is This What You Want? Seven of the album's twelve tracks were recorded at Sound Recorders Studio from 20 October to 11 November.Lomax was supported on these sessions by Harrison, Larry Knechtel, Joe Osborn and Hal Blaine – the latter three among the top LA session men at the time and veterans of Phil Spector's Wrecking Crew. Moog synthesizer pioneers Bernie Krause and Paul Beaver also contributed, and Harrison later used a collaboration between himself and Krause on his experimental album Electronic Sound.
Other activities during what biographer Alan Clayson describes as a "most productive" US visit for Harrison included meeting Delaney Bramlett and Leon Russell for the first time, and recording a rendition of "Nowhere Man" by singer Tiny Tim for inclusion on the Beatles' Christmas 1968 fan-club record. Lomax later praised Blaine, Knechtel and Osborn for being "tremendous musicians, so quick"and, like Harrison, he would work with Russell in London late the following year.
London, January 1969
The album (in its UK version) was completed in London during January 1969,in between Harrison's commitments to the Beatles' ill-fated Get Back project. Although only John Barham would be credited for orchestration on Is This What You Want?, Beatles producer George Martin can be heard on Get Back audio tapes from 10 January wondering whether Harrison, who had just walked out on the band, would be attending a strings overdubbing session Martin had arranged that evening for one of Lomax's tracks.
Harrison originally considered giving his most successful composition, "Something", to Lomax to record, after Lennon and McCartney had shown little interest in it during the Get Back sessions. Harrison instead offered the song to Joe Cocker before the Beatles recorded it for their Abbey Road album (1969).
Subsequent Apple recordings
The US version of Is This What You Want? was issued two months after its British release and included "New Day", a Lomax composition that was originally intended as a standalone single, although Lomax later claimed he had to push to persuade Apple that it was worth recording. The sessions in April 1969 were Lomax's first as a producer, supported by longtime Beatles associate Mal Evans; Lomax also worked closely with musical arranger John Barham on the song's descending brass parts. The backing musicians on "New Day" were previously thought to have been Clapton, Starr and Billy Preston, but Lomax has stated that he was accompanied by his live band at the time: Tim Renwick, Chris Hatfield, Billy Kinsley and Pete Clark. Lomax recorded a cover version of Leiber and Stoller's "Thumbin' a Ride" on 11 March, as the B-side to "New Day" in America. "Thumbin' a Ride" was produced by Paul McCartney and featured him on drums, along with Harrison (guitars), Preston (piano and organ) and Klaus Voormann (bass); in addition, "George & Patti and The Rascals" were credited as backing vocalists.An unreleased Lomax composition, "Going Back to Liverpool", was also taped in March 1969,apparently at the same McCartney-produced session. The following day, 12 March, Harrison was overseeing overdubs on these Lomax tracks, before planning to attend McCartney's wedding to Linda Eastman, when Pattie Harrison informed him that the police had just carried out a drugs raid at Kinfauns; a large lump of hashish had been "found" on the floor of their otherwise-tidy home.
Other tracks Lomax recorded for Apple during 1969 included "You Make It With Me", "Can You Hear Me" and "You've Got to Be Strong",the last of which would be rewritten by Doris Troy and released on her own Apple Records album as "I've Got to Be Strong". By this time, Lomax was involved with a band called Heavy Jelly, but he recorded one last single for Apple in October 1969, a Harrison-produced cover of "How the Web Was Woven".Nicky Hopkins was booked to play on the session but was unable to return from Los Angeles in time, and then Harrison was forced to postpone when his mother became seriously ill.Leon Russell agreed to participate on the rescheduled session, and contributed piano, organ and guitar. Lomax had been reluctant to record the song – in 1974 he would tell ZigZag magazine that he had to be "pretty well talked into [doing] it" – but he was impressed with Russell's versatility on "How the Web Was Woven", and credited him with also playing the drums on the recording.


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