WE CURRENTLY HAVE MORE THAN 300 LISTED ITEMS
►Click here to see ALL our ROCK auctions ►Our PSYCH & PROGRESSIVE auctions ►Our PUNK & NEW WAVE auctions ► Our JAZZ auctions ►Our BLUE NOTE JAZZ auctions ►Our BLUES auctions ►Our CLASSICAL auctions ►Our COUNTRY auctions ►Our FUNK auctions ►Our LATIN auctions ►Our METAL auctions►Our REGGAE auctions ►Our SOUL auctions ► Our STILL SEALED ITEMS ►Our PROMO auctions ►Our ACETATE auctions ►Our TEST PRESSING auctions ►Our AUDIOPHILE auctions
· ROLLING STONES - BEGGAR'S BANQUET - ORIGINAL 1968 LONDON RECORDS STEREO LP PS-539
· ORIGINAL U.S. PRESSING
*** INSANELY RARE TRUE FIRST (PROMOTIONAL-ONLY) RELEASE WITH THE UNUSED AND UNRELEASED IN THE UNITED STATES, QUICKLY ABANDONED "TOILET" PAPER SLICK PROTOTYPE STILL NEATLY WRAPPED AROUND THE JACKET ***
· NOTE: THIS IS THE VERY FIRST PRESSING, WHICH GIVES SONGWRITING CREDITS FOR ALL SONGS 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)
· THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
· 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).
· THICK CARDBOARD GATEFOLD COVER, AMERICAN STYLE.
· ORIGINAL SONGWRITING CREDITS ON THE BACK COVERS ARE SPLIT IN SIX LINES (NOT FOUR, AS FOUND ON LATER PRESSINGS)
· CLEAN, WEAR-FREE LABELS
· 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!)
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 ►click here for the complete album listing).
The PROMOTIONAL, RADIO STATION-, AUDITION OR DEMONSTRATION COPIES AND RELEASES (such as the one we have here) were often distributed among the radio stations before the record was released to the public, sometimes as much as four months ahead. These records are generally considered to be the "first among equals", which is to say the VERY FIRST generation and the VERY FIRST pressings of the particular title; a PROTOTYPE and the earliest known official pressing of the record.
For additional historical or discography information on this album, including track listing ►click here
TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ► CLICK HERE
· THE 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) WE GRADE THE VINYL AS NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs - are (barely) visible, but are probably inaudible, and do not affect visual integrity or beauty of the vinyl. The original luster is very much intact, and the vinyl shines and sparkles almost like new.
(b) The record is 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!
(c) The record comes in the original stock inner sleeve.
(d) The album comes with the original "public toilet" paper slick (slightly worn and faded along the folded spine) , which was abandoned almost immediately upon release and never used on any US pressings of this album until about 20 years later, when ABKCO released a digitally remastered album series. The slick is slightly shorter than the cover itself and clearly shows London's catalog number and album title on the folded spine.