Sold Date: December 16, 2016
Start Date: December 9, 2016
Final Price: £51.00 (GBP)
Bid Count: 2
Seller Feedback: 4322
Buyer Feedback: 33

"CIGARETTES AND COFFEE" (Thomas, Butler & Walker)

It's early in the morning,
About a quarter to three,
I'm sitting here talking with my baby,
Over cigarettes and coffee, now,
And to tell you that,
Darling, I've been so satisfied,
Honey, since I met you,
Baby, since I met you.

All the places that I've been around,
And all the good looking girls I've met,
They just don't seem to fit in,
Knowing this, particularly sad, yeah.

But it seemed so natural, darling,
That you and I are here,
Just talking over cigarettes and drinking coffee.

And whole my heart cries out,
Love at last I've found you,
And honey won't you let me?
Just be my whole life around you,
And while I complete, I complete my whole life would be, yeah,
If you would take things under consideration,
And walk down this hour with me,
And I would love it, yeah.

People, I say, it's so early in the morning,
Oh, it's a quarter to three,
We're sitting here talking,
Over cigarettes and drinking coffee, now,
And I'll like to show you, well,
I've known nothing but good old joy,
Since I met you, darling.
Honey, since I've met you, baby, yeah.

I would love to have another drink of coffee, now,
And please, darling, help me smoke this one more cigarette, now.
I don't want no cream and sugar,
'Cause I've got you, now darling,
But just let me enjoy,
Help me to enjoy,
This good time that we'll have, baby,
It's so early, so early in the morning,
So early, so early in the morning,
And I've got you,
And you've got me,
And we'll have each other,
And we don't, we don't want nothing but joy,
Nothing but joy......
  OTIS REDDING: "The Soul Album" LP IN MONO, VERY RARE FIRST UK PRESSING, 23rd JULY, 1966.
I never give up with records, but after nine years of trying, I had started to think another first Near Mint  / Mi nt UK pressing
of the glorious "Soul Album" in Mono, no longer existed in top condition.  The incredible tracks instantly created a major and
essential masterpiece, they were played....and played....and played relentlessly, understandably because there was not one second
on the entire album without inspired music from the great man and that 'band of bands.'  Most  "The Soul Album" covers reflect
that constant use and they are in a really dreadful state today, only two plays and a record gleaming like new, spared that and
although some light ageing on the matt back cover.  This is an outstanding first edition UK  'Earnest J Day' printed cover, and
at 50 years of age....so what?  When this happens to be a perfectly strong and beautiful cover, with deluxe glossy lamination on
the front, gleaming away like the record, and what fantastic sound quality!


RARE VERY FIRST ISSUE, TEXTURED RED & MAROON ATLANTIC LABELS: 587011
 Side 1's label has a small oblong white sticker with the Atantlic lettering and logo printed in red, I cannot say for sure what  
the purpose was, most likely promotional because Polydor did not have Demo / Promo stickers.  There are multiple examples of
stickers on covers and labels for all Polydor pressings, the best known example for the maroon & red Atlantic labels was for the
1971 "Led Zeppelin 4" or "Four Symbols", but once Kinney Records took over Atlantic etc. there was more stickers than you could
count.  The paper itself is positively 1960's, thickly textured and over the decades, almost translucent, I included a close-up  
of the sticker, which also shows the superb condition of the central label in general and the extra thick label texturing in 1966.
Another thought, "The Soul Album" was the first Otis Redding album with completely new recording's, issued on the freshly
re-designed red and maroon label.  Previously the Atlantic label was a purple colour and pressed by Decca, Polydor were taking
over for the first time, including re-pressing  the two previous 1965 Otis Redding albums, so perhaps that accounts for the extra
Atlantic sticker for this first pressing of "The Soul Album."

MAITRIX: 587011   A ▽ 2   420    1    1  /  587011   B // 2   ▽ 420     1   1
The first UK pressing, the two pairs of ending '1' digits are spread around the run-out grooves and out of camera range.
 
  ORIGINAL 1966 POLYDOR / ATLANTIC POLY-LINED INNER SLEEVE,  UNSPLIT, WITH LIGHT AGEING, A RECORD
  IMPRESSION AND A FEW RELATED GENTLE CREASES.   IN EXCELLENT+++ / NEAR MINT CONDITION.
 

  FIRST ISSUE 'Earnest J Day' PRINTED, LAMINATED FRONT MONO COVER, THE FRONT IS STUNNING CONDITION!
The lamination is as deeply glossy as the day it was applied, near the middle a few tiny lines were not smoothed, the colours 
of the pink & green titles lettering and the artwork still have the original vividly bright unfaded colours, still with the 1966
  original rich and deep tones.  Considering such an extremely heavy weight record, storage has been made with the greatest care
    because there is only a very light  impression and a few related tiny laminate edge lines.  A really beautiful looking front and I
The cover has a superbly highly glossy laminated front, gleaming away over the vividly bright unfaded colours, still with the 1966
  original rich and deep tones.  Considering such an extremely heavy weight record,  storage has been made with the greatest care
    because there is only a very light  impression and a few related tiny laminate edge lines. A really beautiful looking front and I
  can only marvel at the wonderful condition.

      The opening edges are crisp and sharp edged, the top and bottom edges have unscuffed laminate, with the right side corners as
   near to perfect as it gets.  The left side corners or pointed ending spine tips only have light rubbing, the black printed titles
  on the spine are absolutely perfect with just mild ageing to the white background.
 
   The back does not have any rubbing or wear to the pictures, track listing, credits and descriptive text, however, after 50 years
  a matt back with a white background was never going to stay pure white,  So some acceptable ageing but certainly not excessive,
  the middle of the far left opening edge, has a couple of small glue droplets from the factory assembling.  Everything relates to
  holding the heavy record, so grading has to reflect such remarkable condition.
  THE COVER IS IN EXCELLENT+++ / NEAR MINT CONDITION.
 
AS MENTIONED, THE IMMACULATE TEXTURED LABELS ONLY HAVE TWO SPINDLE ALIGNMENT TRACES.
  THE RECORDS STILL HAS THE 1966 ULTRA GLOSSY TOP SURFACE, JUST A FEW TINY, FEATHER LIGHT TO
  NEAR INVISIBLE HANDLING TRACES.  THE MONO SOUND QUALITY IS JUST SENSATIONAL, FULL OF REAL
  POWER AND IMPACT, BUT ALWAYS PERFECTLY CLEAN AND CLEAR.
  THE RECORD IS IN TWICE PLAYED, SUPERB MINT- CONDITION.   SIDE 1
"Just One More Day" (Otis Redding / Steve Cropper / McElvoy Robinson)
"It's Growing" (Smokey Robinson / Warren "Pete" Moore)
"Cigarettes And Coffee" (Jerry Butler / Eddie Thomas / Jay Walker)
"Chain Gang" (Sam Cooke )
"Nobody Knows You (When You're Down And Out)" (James Cox )

SIDE 2
"Good To Me" (Otis Redding / Julius Green)
"Baby Scratch My Back" (James Moore)
"Treat her Right " (Roy Head / Gene Kurtz)
"Everbody Makes A Mistake" (Eddie Floyd / Alvertis Isbel)
"Any Ole Way" (Otis Redding / Steve Cropper)
"634 - 5789" (Otis Redding / Eddie Floyd)

Otis Redding  - vocals
Steve Cropper - guitar
  Donald "Duck" Dunn - bass
Booker T. Jones - keyboards
Isaac Hayes - keyboards
Al Jackson, Jr. - drums
  Wayne Jackson - trumpet
Andrew Love - tenor sax
Joe Arnold - alto sax

Recorded November, 1965 - February, 1966.
Produced By Jim Stewart, Booker T. & The MG's, Isaac Hayes & David Porter
  Just lately I have been struggling to locate the fantastic original Otis Redding albums I grew to love in the 1960's and ever since.
  Nothing new there really, even in the heydays of record fairs I considered myself very fortunate if I occasionally found an album
  to meet the almost impossible standards I set way back in the 1980's as a record seller. 'Near Mint  /Mint' seemed implausible and
  the Soul record specialist of those days, looked at me in amazement when I pestered them for Mint Otis Redding first pressings.
  Determination and a stubborn refusal to settle for substandard, plain worn out first pressings, lovingly played, but excessively!
  That had to be due to the staggering contents and so few of Otis' album titles were bought during the 60's, it was the converted
  and enlightened who owned and wrecked them!   I have a soft spot for any original because they make you feel good just to see,
  but not to listen to, these were among the greatest records ever made and wherever 60's music ventured, nothing could ever give
  you the passion and intensity of Otis Redding singing his heart out, the above list of musicians who accompanied him on just about
  every recording session and in concert, were indeed the finest r&b musicians on the planet individually and collectively.  For that
  to transfer to a record and then be named 'truly great' he needed a really special instrumental backing to intuitively produce the
  same intensity, from the slowest r&B to the swiftest flowing, fastest tempo's, they were all absolutely essential to him.  If you
listen to any Redding record, Steve Cropper's lead blues guitar was the perfect foil for his vocals, on this amazing LP, check out
Steve Cropper on Side 2's "Baby Scratch My Back", his lead guitar is as glorious as Otis's incredible vocals.  That standard I set
has been met once again and this superb condition 1966 record and cover will be 'served up' with two other Otis Redding UK 60's
originals, as fate has it once again, all three all titles were missing from a recently bought Redding collection.  Being something
of a completest by nature where music is concerned, positive thinking is the main asset a record seller can have if combined with
  a genuine love of the music.  That's why I dislike any of the ebay fixations with, 'impossible', 'museum', 'archive' and any other
negative expressions used for rare records in top condition,for me any record of substance from the last four decades of the 20th
century in this amazing condition is rare.  Otis Redding was with any question the world's greatest r&b/soul vocalist of all time,
  as the most demanding field to sing in because it incorporates blues, soul and gospel, that makes him The greatest male vocalist
  regardless of any music categories.  Adopting that a policy of only top condition first pressing of the great man's records, that is
  very frustrating trying to produce albums in the only condition I will consider, virtually all Otis' UK albums are extremely rare.
  The 1960's was a decade full of musical giants like Otis Redding but the decade was not one when treating your records with care
was a priority, particularly where mono vinyl was concerned.  'Now' was all that mattered and we wrecked records like this, but it
was a by-product of deriving pleasure from the music in the process, why I have such trouble with the incredible,"Soul Album."

For all Otis Redding's phenomenal talent, success came really slowly for his first three albums, the influence he had on the young
r&b bands was immeasurable in the UK and USA during that decade of wonder.  The earliest Otis Redding records were restricted
to singles between 1962 - 1964, his first album was titled "Pain In My Heart," issued only in America initially, May,1964 and low
sales saw it only making No.103.   "The Great Otis Redding Sings Soul Ballads" followed and in April, 1965, selling even worse and
  only reaching No.147, in the UK it failed to chart at all.  His follow up 1965 album was the magnificent "Otis Blue," instantly hailed
as the greatest soul album of all time. That made an improved No.75 in the USA but in Britain once again even "Otis Blue" failed to
to sell enough copies to even enter our charts. The other two Otis Redding LP's I will be listing on ebay over the next few weeks,
  will be on the red & maroon Atlantic labels from 1966, the reason two label pressings exist was due to those first two UK albums
being released in the period Atlantic label was still a purple colour.  The 1965 sales were so poor only a handful were bought on
the purple label but the New Year saw everything change for this almost unknown talent.  In January,1966, a single issued from
"Otis Blue ~ Otis Redding Sings Soul" contained a superb version of Smokey Robinson's "My Girl," finally making a breakthrough
here, his first ever British chart success a climbed to No.11.  That was where I came in aged thirteen, that superb single was my
first ever Otis Redding record, followed by the "Otis Blue" album being released again in March,1966 Atlantic changed their label
design to the now more familiar red & maroon colour, we are now current to this album's first pressing.

The July,1966 issue of "The Soul Album," was an historic event became it was in effect the first Otis Redding LP with new material
issued only a few months after the American "The Soul Album," plus it became his first current LP on the new red and maroon label.
The first four Otis Redding LP's contained "Soul" in the title which may appear confusing, perhaps suggesting different versions
with the same material, but they are all individual albums with exclusive tracks.  I have only ever sold one Stereo first pressing and
that is be down to both the rarity factor and the condition of this fantastic album. The tracks on this wonderful album actually
read like a collection of Otis' greatest recording,s but that was just how the album was recorded at the time, between touring in
November, 1965 to February, 1966. A sensational set of eleven tracks and as the back cover's liner notes very effectively sum up
"The Soul Album":
    "They include rhythm tunes, ballads and blues, on each of them he displays a different aspect of his great talent, so that the
  whole album becomes a perfect showcase for the gifted Otis Redding."
    The UK sales for "The Soul Album"  were only moderate in 1966, peaking at No.22, so certainly not an easily located album
  in the only condition worthy of such fantastic music, this Mint- very first pressing is extremely rare.

Both labels are in such pristine condition I thought this was an unplayed record at first, only with the greatest difficulty found
two ultra faint spindle trace, on the labels.  These are the textured type, with totally unscuffed perfect printing, please see
my pictures for how 'like new' they are and for their textured finish.  For such an incredible album, now 50 years of age, that
is as close to being a 'new' record as 1966  permits.  Not just visually, as my earlier play revealed, the mono sound quality is
precisely as pressed all those years, just staggering!  The whole record had an absolute minimum of any natural static, so I do
not need to keep typing that, under the circumstances I will not spend  any longer than neccessary describing the LP, let loose
on this fantastic album,that's as well because I could write volumes about every track. I will add all relevant sound details but
 limited to just one more play, the improbability a Mint- copy must be respected, I will get as much info typed as possible.

Side 1 has near silent, smooth running run-in grooves, opening to an incredible Otis Redding, Steve Cropper & Smokey Robinson
  composition,"Just One More Day." A really wonderful intro with a soulful r&b organ,lead guitar, bass and drums playing in superb
audio clarity, Otis comes in singing with all his sincerest heartfelt, deepest passion.  A magnificent voice on this slow, down on
on the floor, pure blues track, projected with all the fullest power of a Mint- mono first pressing, the minus is starting to annoy
me now!  The soft and quiet opening only has the expected low level static in the background that was there in 1966, a subject I
can personally be positive about, as one of the few regular ebay sellers who was buying and listening to this decade's records.
   A song pleading with a lady not to leave, a slow tempo places the focus onto the vocals but the backing is just as overpowering.
  As the temperature rises, brass joins, I love how Steve Cropper's r&b / blues lead guitar is played, simplicity was all it took
  to build up the emotional content of the track, the effect is just awesome on a song of the very greatest intensity, with Redding
  smouldering away with towering vocals.  "Just One More Day" is here in just staggering mono sound, perfect audio sharpness in
fantastic loud and very powerful sound quality.  The first set of linking grooves are smooth running and very near to silence, the
  outstanding Smokey Robinson & Warren Moore composition,"It's Growing."  The Temptations covered this for Motown superbly, if
  a little too tamely, the rawness and the cutting edge of this amazing version was smoothed over, in Otis' hands this is being sung
  without any of the vocal harmonies.  The rhythm kicks in with a vengeance,  Otis sings it with unreserved energy against a backing
  of sheer genius, records such as this have a timeless appeal, music this great will never date even over the centuries to come.
   The drums and the bass guitar sound incredible, the brass provides an additional 'punch', that and the vocals have perfect audio
   sharpness, I'm not wasting time on the natural record playing sound on Mint- vinyl, this is how you brought the album home from
  a record shop in 1966, including the cover and the inner sleeve, I cannot possibly offer any finer package than that for any LP.
  "Cigarettes And Coffee" was such a great title for a song, especially for the very special feel generated on the late night blues,
  a slow tempo suits the sleepy feel of the early hours, not that Otis Redding is holding back when delivering the evocative lyrics.
   The setting is quarter to three in the morning and he really does get into this, his vocal improvisations surpass the actual lyrics
  and for example, "I don't want no cream or sugar, because I've got you," is followed by a fantastic,"It's so early in the morning"
  and that is sung with the greatest passion as the song finishes.  Just when you think that Otis Redding can't possibly be any more
  intensive, he produces it!   The full lyrics are at the top of the page, the next to begin from another gap without any irritants is
  Sam Cook's "Chain Gang," with this band and the greatest vocalist ever known, this great song gets taken to it's very limits and
   or any other version. It goes without saying how the vocal was sung just as uniquely as the track arrangement, the sound quality
  is just stunning!   So far I have managed to stick only to my intended minimal text, to end the first side is a vocal of monumental
proportions during, "Nobody Knows You (When You're Down And Out)."  If ever any blues song demanded a totally committed,
  emotional and passionate performance, this is it.   Blues, r&b or soul, who really cares which category this falls under, Otis is
  in staggering vocal form!   You believe every word he sings, the sheer passion and the rawest emotions being poured into this
  three minutes is devastating to hear, singing very slowly, placing full emphasis onto every single word.  A sympathetic backing
  has the effect of allowing the vocals complete prominence, working perfectly in mono by creating such an emphatic impact from
musicians and vocalist alike. The sound is razor sharp, I have avoided trivialities about the occasional moment of static because
such an amazing condition record will positively improve with every play and there is nothing even here, that does not belong on
top condition 1966 vinyl. The nature of a honest description means I do include the patently obvious along with the trivial but I
do have a cut off point or I would give up trying so hard to present such ultimate conditions.  A really stunning performance from
the master of anguished blues, personally, I  would just be listening to the very moving music, in the 1960's nobody would have
dreamed about criticising such a fantastic sounding record like this.

Side  2 opens with totally silent run-in grooves, and then onto the quietly played intro, heard here in magnificent clarity, just
like Side 1 began with "Just One More Day," this side has "Good To Me."  Also a slow tempo r&b / blues song, with the organ
superbly played, presumably by Booker T.  Interestingly in this same period, Bob Dylan was introducing electric instruments like
organs, the 60's lack of musical barriers might have upset a few folk purists but what amazing music was created in the process.
An Otis Redding & Julius Green composition of true greatness, the vocals here are just staggering, when Otis sang blues of this
caliber, he was out on his own and even by his own unbelievable standards, this is a remarkable performance from an artist who
only ever sang from his heart, in a recording studio and when performing live.  A biting intensity is there right from the moment
the track starts, but the passion still builds and builds throughout the whole song. The organ plays gently, the drums keep a slow
  but steady rhythm with the bass guitar, subtle brass plays the melody, but it's the vocals that become so rivetting.  That bass has
a massive impact, a record with the fullest 'bottom end,' next, in total contrast, into an infectious r&b rhythm for a faster moving
  "Baby Scratch My Back," the track I mentioned featuring some brilliant Steve Cropper guitar.  The first gap is as problem free as
  they all are, so no need to say that again for this second side. "Baby Scratch My Back" is Stax at it's very finest, the water tight
  and incessant rhythm drives this along with great flair, style and energy, Otis responds with  incredible vocals that owes as much
  to his perfect sense of timing, as to having an amazing voice.  This is loud and powerful mono, my own amp's volume is as usual
  set to rather loud, boosting the extremely strong bass signal to it's maximum, but there's not a hint of distortion from a pristine
   record like this.  Cropper's guitar riff is superb, that feel and the fast flowing music continues straight onto "Treat her Right,"
   what a fantastic backing of drums, bass and brass, it might sound simple but the potency of them together is what created this
  definitive record, I cannot emphasise enough how "The Soul Album" is in indeed 'a definitive record.'  Otis cuts loose with most
  of this incredible track performed as improvisations between the musicians and the vocalist, this really is an extraordinary use
  of 'call and response' between a vocalist and his 'in tune' musicians. It's not easy to describe music that leaves you incredulous,
  there is so little in the way of production during the tracks, this is far more devastating than a whole studio full of musicians.
   "Everbody Makes A Mistake" is yet another example of how these apparently simple instrumental backings become so effective,
  the same basic instruments play the slow r&b intro and within seconds of the vocals beginning, you become instantly absorbed,
  enchanted and left blown away by a performance of incredible passion and depth.  I guess anyone reading this will be very well
  acquainted with how overpowering an Otis Redding original record is, I'll just add the sound is in fantastic sharpness and clarity.
    Next is a really inspired Otis Redding and Steve Cropper composition, this has everything that makes reading those names on the
  writing credit so exciting, a recording with massive dynamics on an outstanding melody.  An amazing backing, plerformed with a
  deceptive looseness on the intro, but so tightly behind the vocals, they are inseperable. The superb druming is as powerful as the
  vocals but it's Otis Redding's ability to add-lib that pushes the track along like a freight train. The audio is outstanding, extremely
  loud  and yet crystal clear, there are none of the usual explosive crackles, just how it was pressed by Polydor. To finish the album
  what else than a sensational vocal on "634 - 5789,"  I love the live feel of this and all the Otis Redding albums, before this song
  starts you hear the count-in from one to nine, then the drums hit the rhythm very hard, the brass and piano are there during the
  chorus and the 'fills' around the verses.  Co-written by Steve Cropper and Eddie Floyd, who had a hit single himself with the song,
  like any Redding version, he makes it his by stamping an indelible genius onto the vocals and that in turn inspires the others into
  into producing something very special.  Otis Redding has a genuine joy in his voice, a truly  wonderful up-beat performance from
  the band and vocalist alike.  The sound quality is ultra powerful and a real pleasure to hear, a thoroughly enjoyable masterpiece
  of an album.
{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;

EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.
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  FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK.
THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
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WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

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