Sold Date: December 17, 2015
Start Date: December 10, 2015
Final Price: £34.00 (GBP)
Bid Count: 1
Seller Feedback: 4100
Buyer Feedback: 196

"SUZANNE" (Leonard Cohen,1967.)

Suzanne takes you down, to a place near the river,
You can hear the boats go by,
  You can spend the night forever,
  And you know that she's half crazy,
  But that's why you want to be there.
  And she feeds you tea and oranges,
  That come all the way from China,
  And just when you want to tell her,
  That you have no love to give her,
  She gets you on her wavelength,
  She lets the river answer,
  And you've always been her lover.
 
  And you want to travel with her,
  And you want to travel blind,
  And you think that maybe she will trust you,
  For you've touched her perfect body, with your mind.
 
And Jesus was a sailor,
  When he walked upon the water,
And he spent a long time watching,
From his lonely wooden tower,
  And when he knew for certain,
  Only drowning men could see him.
  He said, "All men shall be sailors then,
  Until the sea shall free them."
But he himself was broken,
  Long before the sky would open,
Forsaken, almost human,
  He sank beneath your wisdom, like a stone.
 
  And you want to travel with him,
And you want to travel blind,
  And you think maybe you'll trust him
  For he's touched your perfect body, with his mind.

Suzanne takes your hand,
To a place by the river,
She is wearing rags and feathers,
From Salvation Army counters,
  And the sun pours down like honey,
  On our lady of the harbour.
And she shows you where to look,
Between the garbage and the flowers,
  There are heroes in the seaweed,
There are children in the morning,
And the're leaning out for love,
  And they will lean that way forever,
While Suzanne holds the mirror.
 
And you want to travel with her,
  And you want to travel blind,
And you know that you can trust her,
For she's touched your perfect body, with her mind.
FAIRPORT CONVENTION: "Heydays" UK LP.  BBC Live Radio Sessions, Recorded Between 1968 & 1969, IN MONO.
  ISSUED EXCLUSIVELY ON JOE BOYD'S 'HANNIBAL RECORDS' LABEL, RELEASED SEPTEMBER, 1987,  ALL TRACKS
LICENSED BY AN ARRANGEMENT WITH 'BBC ENTERPRISES.'


HANNIBAL RECORDS: HNBL 1329

MAITRIX: HNBL 1329 - A / HNBL 1329- B  
A very first pressing but only one very small pressing batch was made due to such low sales, so low, there was no need to
index the records with digits.


THE CARE THAT WENT INTO THE MASTERING TO VINYL, CAN BE SEE BY JOE BOYD TAKING THE MASTER TAPES TO
THE NEW YORK.   "MASTERDISK" WAS MACHINE STAMPED IN THE RUN-OUT GROOVES,  I INCLUDED A CLOSE UP
PICTURE AND ALSO THE LOGO OF THE AMERICAN SOUND ENGINEER WHO ORIGINALLY MASTERED "Heydays."
TONY DAWSEY CARVED HIS 'TD' INITIALS DIRECTLY AFTER STAMPING "MASTERDISK."  IN THE 1980's VINYL WAS
VERY MUCH AN INTERNATIONAL AFFAIR BETWEEN EUROPE AND AMERICA.

ALL THIS ERA UK 'HANNIBA'L RECORDS WERE PRESSED IN EITHER HOLLAND OR FRANCE, WHICH COUNTRY
  THEY WERE MADE IN IS FOUND ON THE LABELS, THESE HAVE "Made In France."   I NEVER BASE STATEMENTS
LIKE THAT ON ISOLATED LP TITLES FOR ANY GIVEN LABEL, OTHER EXAMPLES ARE RICHARD THOMPSON'S
"Small Town Romance", NICK DRAKE'S "Time Of No Reply" & SANDY DENNY'S "Rendezvous", ALL PRESSED
IN FRANCE FOR BRITISH RELEASE ON THE HANNIBAL LABEL.   THE ENGLISH LABEL TEXT IS PRECISELY THAT
OF ANY UK RECORD, EMI HAD BEEN DOING THE SAME SINCE THE EARLY 1970's FOR LP'S, THEY WERE HARDLY
A SMALL INDEPENDENT LABEL LIKE JOE BOYD'S 'HANNIBAL.'


ORIGINAL 1987 LINED DIE-CUT CENTRE,  INNER SLEEVE, IN UNUSED, UNAGED, UNSPLIT MINT CONDITION.


AN UNUSED COVER WITHOUT A PRINTER CREDITED, PERSONALLY I THINK THE COVERS WERE MADE IN ENGLAND
LIKE THE INNER SLEEVES, BUT I AM UNABLE TO SUBSTANTIATE THAT.
I know many collector's find the 1960's and 1970's UK records and covers etc. complicated, but compared the 1980's to the present
  day, they were simplicity itself!   I try my best to present them as clearly as possible and when necessary include personal opinions
  for where unspecified items originated from. The back & front have glossy top surfaces, just a record impression and a few tiny edge
  paper lines.  Beyond normal standing in storage traits, an unused cover without virtually any ageing or wear.  The opening sides,
edges and corners and are near perfect, the spine only has a few minor ripples from standing for 28 years.  There is no fading and
the unique pictures of Fairport on the front & back look superb, the rest of the artwork is similar to the 1969 "Liege And Lief"
cover.
  THE COVER IS IN  SUPERB NEAR MINT CONDITION.


THE RECORD & LABELS ARE IMMACULATE, BRAND NEW, IN UNPLAYED, MINT CONDITION.
SIDE ONE
  "Close the Door Lightly When You Go" (Eric Anderson)
  "I Don't Know Where I Stand" (Joni Mitchell)
  "Some Sweet Day" (Felice & Boudleaux Bryant)
"Reno Nevada" (Richard Farina)
  "Suzanne" (Leonard Cohen)
"If It Feels So Good, You Know It Can't Be Wrong" (Richard Thompson / Ashley Hutchings)

SIDE TWO
  "I Still Miss Someone" (Johnny Cash / R. Cash Jnr.)
  "Bird On A Wire (Leonard Cohen)
   "Gone, Gone, Gone" (Phil & Don Everly)
  "Tried So Hard" (Gene Clark)
  "Shattering Live Experience" (Simon Nicol)
  "Percy's Song" (Bob Dylan)
 

FAIRPORT CONVENTION, 1968 - 1969;
Sandy Denny - vocals
Ian Matthews - vocals
Richard Thompson -  vocals, electric and acoustic guitars & organ
Simon Nicol - electric and acoustic guitars & electric dulcimer
Ashley Hutchings - bass guitar & backing vocals
Martin Lamble - drums
 
All Tracks Recorded At The BBC Studios, Between 1968 -1969  (Dates Of Recording And Broadcasts Below.)
Album Assembled By Ashley Hutchings, Frank Kornelussen & Joe Boyd.
Tape Sources: Ashley Hutchings, Richard Thompson, Edward Haber &  Frank Kornelussen
Sleeve Notes By Joe Boyd.
Released By Arrangement With BBC Enterprises.
For a band who's live performances were so prolific and inspired, it was a tragedy there was not one single concert recorded with
  the original Sandy Denny line-up.  Sandy replaced Judy Dyble in 1968 and the period between 1968 and 1969 was indeed Fairport's
  most intensive period. Live music was absolutely essential but it seemed unimportant to officially record and release concerts at
the time, radio broadcasts fulfilled that for artists, BBC Studio recording facilities had equal standard's to recording studios.
There was no need to record the sessions in stereo because radio broadcasts in the 1960's were in mono only, and what great mono!
The recordings were so professionally made, the BBC had some of the sessions mastered onto their own vinyl, many LP's still exist
and when offered for sale, they command very high prices today, due to the pressings being made in usually only single figures.
  I personally spent most of the late 60's with an every ready supply of blank cassettes, primed and ready to hit the record button
  to capture the amazing wealth of live music being performed on their radio sessions.  Sometimes just the one or maybe two tracks
  were broadcast between records, good old John Peel and other DJ's managed to arrange complete live sets performed by major
  artists, not necessarily successful ones either.  John Peel was responsible for discovering and introducing incredible talent, the
  only down side was weak radio signals and in the days before Stereo FM, other stations often overlapped, but the magical sounds
  coming from the radio were usually songs not included on albums.  You were hearing sets or parts of the numbers performed only at
  gigs and even if they were available on records, the live versions were usually superior, especially for folk music because there
  was always a strong emotional element only found in live takes.  For decades my original directly recorded radio cassettes were
  the only source for the above tracks, if with drifting signals and plenty of interference!  As it turned out, both Ashley Hutchings
  and Richard Thompson were of a like mind about rare radio performances, they had kept the BBC's professionally recorded tapes and
  without them, all that would be available today would be the much poorer sound quality material found on the 2007 four CD Box
  Set, "Fairport Convention - Live At The BBC."  That was not intended as criticism, the material on the box set was painstakingly
  and lovingly compiled from all that was preserved, by the same method of directly recording the BBC broadcasts on late 1960's
  cassette tapes, which in truth were far from ideal from a sound perspective. Unlike reel to reels, blank cassettes had 'hiss' and
  noise that was often louder than the music!  The 'tragedy' of missing out on a typical live Fairport set in 1968 & 1969, was that
  line-up was on borrowed time, the last track on this album was recorded in March,1969, well before recordings were made for
  the "Unhalfbricking" album, the sessions did not start until October and finished on the 1st November,1969.  In between that, the
fatal disaster happened when Fairport's van crashed on the M1 motorway during the return journey from a gig in Birmingham.
  Their highly talented drummer, Martin Lamble, had been indispensable for Fairport's unique brand of folk/rock, died aged only 19,
  so did Richard Thompson's girlfriend, Jeannie Franklyn.  Ashley Hutchings was seriously injured but recovered and the band were
  so shocked and grieving, they almost abandoned the recording sessions for "Unhalfbricking," it was obvious they would not all
  stay together for much longer. Then in 1969 Ian Matthews left to initially start a solo career and after the triumphant second LP
  in 1969, "Liege And Lief," Sandy and Ashley moved on in 1970, soon followed by the departure of Richard Thompson.  So to name
  "Heyday" as essential, is an understatement, every track features Ian Matthews, Sandy Denny, Richard Thompson, Simon Nicol
  and Ashley Hutchings.  You also get to hear the 'missing Fairport Convention album', featuring the songs they were performing but
  were not allowed to record for their 1969 Polydor debut LP, "What We Did On Our Holidays, "Unhalfbricking" or "Liege And Lief,"
  the trio of 1960's Island albums featuring Sandy.
 
  A full twenty years after that sequence of albums began, it was their original record producer, Joe Boyd, who revealed why such
  fantastic interpretations of the above songs were held back from the albums.  If anyone reading this has heard Ian and Sandy's
  biting intensity when they sang joint lead vocals on Leonard Cohen's 1967 masterpieces, "Suzanne" & "Bird On A Wire," will not
  need me to tell them how the resulting recordings were at least equal to, if not superior to, anything you could name on any of
  their first four albums, 1968 - 1969.  You do indeed have a complete album's worth of that incredible standard of material, and
most importantly of all, the performances from the fast emerging musical genius' individually and collectively, the most potent
folk/rock  band of all time.  Just take Richard Thompson's guitar on "Heyday," the tracks reveal how a young but gifted teenager
had all but perfected his craft, over these last twenty seven years, Richard continually performs songs from this momentous
and inspired period.  Joe Boyd was so honest when he wrote the sleeve notes and admitted he was wrong for not allowing them to
include their interpretations of the great American folk and psychedelic artist's compositions, the only track on "Heyday" that
did appear as a studio version by this ultimate Fairport line-up, was Bob Dylan's "Percy's Song," that brilliant version featured
  the voice of Ian Matthews on "Unhalfbricking" for the only and final time. Not just that, the very first sound you hear on Side 1
Track 1 of "Heyday," is only Sandy Denny's voice quietly counting the band in, "One , two, three," before the superb melody of
Eric Anderson's "Close the Door Lightly When You Go" begins with Ian singing the lead and Sandy providing sublime harmonies on
the chorus.  I will never forget the first time I heard that breathtaking introduction to "Heydays" in 1987, an intimacy that holds
your attention for every second of all twelve tracks, did Sandy ever sing more beautifully than the second track, Joni Mitchell's
late 60's classic, "I Don't Know Where I Stand"?   Her lead vocal inspired Ian Matthews to return the compliment for exquisite
vocal harmonies that 'melt in the mouth,' then you hear Richard Thompson's blues/psychedelic electric guitar solo on the track,
  reason enough for Joe Boyd to concede he was wrong.  I tend to get carried away at the mere mention of the album's tracks, so
  here are those sleeve notes and they say it all about how essential "Heyday" really is.
"I guess I have to take part of the blame.  I mean as an American, my view was that Americans did these sort of songs in their
sleep better than any English band could hope to.  I felt the Fairport could use their considerable talents in developing their
own material and becoming as, well, English as possible.  Thus I discouraged committing most of the above songs to vinyl back
  in 1967 and 1968.  I have never been a great one for giving audiences what they want - give them what they ought to have is my
  motto.  The fact they seemed to enjoy the songs immensely at gigs cut no ice with me. Which is not to say the Fairport themselves
were clamouring to record "Gone Gone Gone" on "Unhalfbricking."  There was just general agreement that these songs weren't as
  important as the material that was recorded. Twenty years on, however, there is no escaping the sheer enjoyment of these tracks
  and the spirit of the early Fairport days they invoke. And of course, I am now forced to admit it is hard to find an American who
can do these songs equal justice."

Joe Boyd, August 1987
One thing was sure, by Joe Boyd releasing the twelve tracks on his own Hannibal label, the sound quality was always going to be
the finest any perfect 60's BBC recordings could possibly be.  Ashley Hutchings was also making certain the mastering to vinyl of
  such precious tracks, justified Joe Boyd's almost reluctance to accept  Fairport Convention could perform West Coast USA songs as
  well as, if not better than American artists. In the initial stages of 1967 - early 1968, perhaps the vocals of Judy Dyble formed
  Joe Boyd's opinion and not forgetting how Richard and the other musicians were so young, who could have predicted how fast they
  would mature in just over a year?  Plus "If It Feels So Good, You Know It Can't Be Wrong" was one of Richard Thompson's earliest
  compositions, well co-written with Ashley Hutchings, check out Richard Thompson's absolutely amazing guitar on that 1968 track!
  Then by the time of the first Fairport BBC session on "Heyday", 28th May,1968, Sandy Denny became a major influence on the whole
  band, the reason I said first hearing her spoken intro only felt so significant, opening this "Heyday" album with in 1987.
 
With all due respects to Judy Dyble, the version she sang lead vocals on "I Don't Know Where I Stand," for the Polydor self titled
  debut album, does not come even close to Sandy Denny's version.  That is not a slight on Judy Dyble, because Sandy's expressive
voice was capable of blowing away any female vocalist in the world, her rendition of "I Don't Know Where I Stand" on "Heyday is
without any question, definitive, the same is still true today about Sandy Denny being the greatest female vocalist of all time.
I am writing the description as lifetime fan of this Fairport Convention line-up and then followed the various solo ventures, Ian
Matthews continued recording and performing songs like Richard Farina's "Reno Nevada" over the coming decades.  The love of
those songs that had such a massive influence, was genuinely long lasting and even if belatedly, Joe Boyd realised how the band
in general had breathed new life into them.  I recorded that Leonard Cohen pair of masterpieces in 1968 and I can honestly say
  I re-recorded them from my original 60's cassette constantly and played the songs more than any of the tracks from the official
  albums.  Sandy's vocal performance on "Suzanne" was phenomenal and the taut dramatic tension from the instruments almost fell
  entirely onto Richard Thompson's amazing 'chopping' guitar notes, only in the dying seconds he relieved that tension by playing a
  beautiful but very short blues solo.  With Ian and Sandy inspiring each other to hit unbelievable peaks of expressive vocals, the
  track on this "Heyday" LP is 'worth the admission price' alone.  Compared to that, my much loved but pathetic sounding cassette
  recording pales beside Joe Boyd's mastering of the perfectly preserved BBC recording, from his label's record you have simply
  staggering sound on "Suzanne" and all twelve tracks.

On that note I must move along to the severe rarity of "Heydays", when we first joined ebay I listed a copy and ever since then I
  have been able to find two others until now, not for the want of trying! The sales were so disastrous they never even registered
  let alone reached the lowest possible chart position, late 1987 was well inside the CD era, where the few sales mostly centred.
  A Mint unplayed record is very special for any 'lost Sandy Denny album', "Heydays" is certainly not just about Sandy, but one of
  the 60's ultimate folk/rock bands the world has ever known.  Who else could have performed the purest r&b of the Everly's song,
"Gone Gone Gone" and injected such vitality and excitement into it?   I can't help discussing the music and as a major Gene Clarke
fan, to hear Fairport fronted by Ian and Sandy vocally, with Richard playing the jangling Byrds like psychedelic electric guitar,
  is beyond words!  "Tried So Hard" was really the very 'American' song Joe Boyd took twenty long years to accept being such an
audience favourite...because Fairport were that talented!  Then you had Bob Dylan all those years later saying that his favourite
  versions of his songs were on the early Fairport albums, in fact, the live BBC version of "Percy's Song" uniquely features Sandy
singing the whole song herself, Richard Thompson sings the harmonies and his guitar was as immense as Sandy's towering vocals.
   As an unplayed record I simply had to listen to it, decades of loving the tracks from a poor sounding cassette has to allow that!
The sound quality was nothing less than awesome and for the first play in 27 years, I was mightily impressed by having virtually
no surface sound, the record was amazing to hear and it will explain why I keep returning to snippets of info about them. I never
leave any traces of being on a spindle or turntable, but I could not possibly write a full track by track description from a true
Mint rarity like this, at least I can confirm how perfect and stunning the sound quality is on every track.  I had better add the
patently obvious, this is a record and the source of the material must be taken into consideration, any faint static is natural
to vinyl and belongs there, with that established, this record is a really amazing listening experience. To end, I will leave all
the details of when the individual tracks were recorded and subsequently broadcast on various BBC radio programes, they will
jog a few memories among the older ebay UK members!   The role played by radio broadcasts in the 60's was enormous, today we
can still reap the rewards and hear the surviving sessions, live music was also 'on the edge', so was that 'decade of decade's'!
As you will notice, the date of the recording was not necessarily the date individual performances from the same sessions were
actually broadcast.
SIDE 1:
"Close the Door Lightly When You Go"  (Eric Anderson)
BBC Recording: 28th May,1968.  Broadcast: "Top Gear", 2nd June,1968.

"I Don't Know Where I Stand"  (Joni Mitchell)
BBC Recording: 28th May,1968.  Broadcast: "Top Gear", 2nd June,1968.

"Some Sweet Day" (Felice & Boudleaux Bryant)
BBC Recording: 28th May,1968.  Broadcast: "Top Gear", 30th June,1968.

"Reno Nevada" (Richard Farina)
  BBC Recording: 27th December,1968.  Broadcast: "The David Symonds Show", 10th January,1969.

"Suzanne" (Leonard Cohen)
BBC Recording: 26th August,1968.  Broadcast: "Top Gear", 29th,September,1968.

"If It Feels So Good, You Know It Can't Be Wrong"  (Richard Thompson / Ashley Hutchings)
BBC Recording: 26th August,1968.  Broadcast: "Top Gear", 1st September,1968.


SIDE 2:
"I Still Miss Someone" (Johnny Cash / R. Cash Jnr.)
  BBC Recording:  27th December,1968.  Broadcast: "The David Symonds Show", 7th January,1969.

"Bird On A Wire" (Leonard Cohen)
BBC Recording: 2nd December,1968.  Broadcast: "The Stuart Henry Show", 8th December,1968.

"Gone, Gone, Gone" (Phil & Don Everly)
BBC Recording: 26th August,1968.  Broadcast: "Top Gear", 1st September,1968.

"Tried So Hard" (Gene Clark)
  BBC Recording: 27th December,1968.  Broadcast: "The David Symonds Show", 8th January,1969.

"Shattering Live Experience" (Simon Nicol)
  BBC Recording: 4th February,1969.  Broadcast: "The David Symonds Show", 9th February,1969.

"Percy's Song" (Bob Dylan)
BBC Recording: 18th March,1969.  Broadcast: "Top Gear", 6th April,1969.
{Roy}
  R & M RECORDS.

My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
  in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
  into becoming a professional record seller.  Nearly thirty years ago we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
  vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;

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AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
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