Description "THE STREETS OF ARKLOW" (Van Morrison, 1973) And as we walked, Through the streets of Arklow, Oh, the colour, Of the day wore on. And our heads, Were filled with poetry, And the morning, A-coming on to dawn. And as we walked, Through the streets of Arklow, And gay perfusion, In God's green land, And the gypsy's rode, With their hearts on fire, They say,"We love to wander," "Lord we love...." "Lord we love to roam..." And as we walked, Through the streets of Arklow, In a drenching beauty, Rolling back 'til the day, And I saw your eyes, They was shining, sparkling crystal clear, And our souls were clean, And the grass did grow, And our souls were clean, And the grass did grow. And our souls were clean, And the grass did grow. And as we walked, Through the streets of Arklow. VAN MORRISON "Veedon Fleece" LP. RARE FIRST UK PRESSING, 16th NOVEMBER, 1974. STRICTLY VERY FIRST ISSUE ONLY, WARNER BROTHERS 'Burbank' LABEL: K 5068 MAITRIX: K 5068 A 2 / K 5068 B2 (The first Pressing, only one was made in 1974.) ORIGINAL 1974 INNER SLEEVE, UNUSED WITH ONLY LIGHT AGEING, IN NEAR MINT CONDITION. FIRST ISSUE COVER PRINTED BY 'Shorewood Packaging Co. Ltd. England,' A MATT FINISH, MADE FROM. THIN CARDBOARD AND PRINTED WITH 'GRAINY INK .' An honest assessment of a much loved album's first issue cover, we were spoilt in the 1960's because matt covers were rarely made, but the reverse was true as the 1970's decade advanced. I earn the right to moan about covers having experienced that 'period of transition'. An unplayed record at least spared this cover from becoming battered and severely worn from excessive handling a masterpiece like this normally had due to heavy plays of the record. The grainy ink has once again reached the light blue base colour either side of the front and back's meeting point with the spine, but only a quarter of an inch, only the top edge from the centre to the rightm has some rubbing, other to that there is actual wear to detail, beyond gentle standing pressure on the bottom corners, which are still square and undamaged. So just the expected light storage signs and ageing common to this as a first edition cover, mostly on on the pale blue sky on the front. I am being deliberately harsh because I always only want to present true Mint records in perfect covers, but obviously that depends on the material used and the quality of the printing. On the plus side, this still has the starchy solidity of newness, not the normal limp, very heavily creased state of frequently used "Veedon Fleece" first issue covers. The spine is remarkably unworn with all the printing 100% present and perfectly clear, a close up picture was taken to show how superbly preserved the titles are. If ever a cover comes under the heading of, 'Mint simply does not exist', that true for "Veedon Fleece" by the end of 1974! At least an unplayed record does mean this is a perfectly strong and sturdy cover, but nothing could prevent the record impression causing some light rubbing to the olive green background on the back, as minimal as it gets though and the gold printing is absolutely perfectly clear and unworn. EVEN THE STRICTEST GRADING WOULD BE A MINIMUM OF EXCELLENT CONDITION. THE TEXTURED LABELS DID NOT HAVE ANY SPINDLE ALIGNMENT TRACES AND THE VINYL IS JUST IMMACULATE. THE RECORD IS IN UNPLAYED, MINT CONDITION. SIDE 1 "Fair Play" "Linden Arden Stole The Highlights" "Who Was That Masked Man" "Streets Of Arklow" "You Don't Pull No Punches, But You Don't Push The River" SIDE 2 "Bulbs" "Cul de Sac" "Comfort You" "Come Here My Love" "Country Fair" Van Morrison - guitar & vocals Ralph Walsh - guitar Jim Rothermel - flute & recorder Nathan Rubin - violin David Hayes - bass guitar Dahaud Shaar - drums James Trumbo - piano The Musicians Who Played On "Bulbs" & "Cul de Sac" John Tropea - guitar Joe Macho - bass on Jeff Labes - piano Allen Schwarzberg - drums Jack Schroer - soprano sax All Songs Written By Van Morrison. Recorded November 1973 - Spring 1974, At Caledonia Studios, California, & Mercury Studios, N.York. Produced By Van Morrison. I normally provide the career details of artists and their previous recordings, but albums rarely hit the dizzy heights of being true masterpieces and when that rare event does happen, there becomes more need to concentrate entirely upon the record in question. Even by Van Morrison's exceptional standards, "Veedon Fleece" was so steeped in a deep mystical beauty and with an emotionally generated purest inspiration, during his long and illustrious career, there is only one other album could possibly be mentioned in he same company as this, his 1968 - 1969 "Astral Weeks." That fantastic first Van Morrison Warner Bros. album never fully reveals all of it's secrets about the deep mysticism contained in the music and lyrics, those melodies alone mean you can re-play the whole album over and over again, decade after decade, yet still find something there is new, challenging and as rewarding. Just like "Astral Weeks," between November, 1973 and the Spring of 1974, Van Morrison created an album that is still beyond compare, "Veedon Fleece" was not a deliberate ploy to re-create anything of that nature, circumstances affecting a musical genius were the sole reason for it's conception. Van Morrison had begun with Them performing a unique brand of r&b, blues and jazz, his Celtic or Irish roots were never forgotten though, but certainly temporarily left behind him. I remember the stunning concert at London's Royal Albert Hall in the late 1980's, when Van performed with the Chieftains around the time of their "Irish Heartbeat" album, that was such a glorious journey through his Celtic roots, we had a front central seat only two to three feet from the stage and the broad smiles being exchanged up there, told of really happy times! Up until 1973, Van had made a new album every single year and the music he developed moved further into r&b, blues, jazz & soul, utilising orchestras, brass and those huge productions he experimented with, they were also happening live in concert as well as on the essential records. "Veedon Fleece" has some elements of all those styles, but a positively Celtic mood and feel is so strong, this is almost a folk or an acoustic album, that was because of how deeply personal the songs were. As I just said, it was the set of circumstances dictating Van Morrison would feel the need to spend time back in Ireland, where he drew more than just an inspiration from his homeland. "And Our Souls Were Clean, And The Grass Did Grow." In 1971, "Tupelo Honey" contained some of the finest and most passionate love songs Van had ever written, that happiness was all centered around his wife, actress Janet (Planet) Rigsbee. A marriage that was fated to end in tears, the divorce in 1973 had a devestating effect on him, they also had a daughter, Shana Morrison. So Van headed back home to Ireland in October, 1973, as the front cover of "Veedon Fleece" pictures him sitting with two Irish Wolfhounds ouside in the grounds where he first stayed. 'The Sutton House Hotel 'was converted from a former Mansion House, looking out over Dublin Bay, that setting was condusive and he drew on his Irish influences to write the majority of the songs for "Veedon Fleece." The mood or feel of the album sits on the border somewhere between a biting intensity and the deepest beauty, the simplicity of the songs like the absolutely stunning "Streets Of Arklow", a track I personally rate as among the greatest ever folk songs, it has such a stark beauty that could have orginated in centuries past. That personifies the whole album, from the huge brass bands and full orchestras, for the haunting melody of "Streets Of Arklow," the most important instrument was a really simple recorder. There is one further connection to "Astral Weeks", both albums were all but ignored when they were first released, it would take decades before a true greatness was acknowledged and the music discovered and loved. I am not even certain if that yet applies to "Veedon Fleece" on a wider scale, if not, it's only a matter of time before there is full recognition of his masterpiece of an album. The 'Veedon Fleece' of the album title refuses to yield it's mystical meaning and I am not about to pretend I know what that represents or means, the lyric is from Side 1's epic of a last track, clocking in at nearly nine minutes long, the song title is long enough to match the duration, "You Don't Pull No Punches, But You Don't Push The River." The song contains many references to Van's favourite poet William Blake, the lyrics are in the form of a sub-conscious stream of out-pouring's, once again really similar to "Astral Weeks." "Veedon Fleece" appears to represent a mythical, religious or a magical item, it does not exist outside of the song, so you would have to ask Van Morrison for the meaning, I suspect something personal. In the context of such an amazing song, it become just one of so many challenging, deep lyrics and as the track weaves and grows into an epic, it belongs there, as a part of the song. The other similarity to "Astral Weeks" is those who bought the first pressings of either album, played then to such an extent, the records are now all but unlistenable to. Of course ebay produces so many vinyl rarities because of the sheer worldwide scale of the internet, but you cannot just wave a magic wand for records like that pair of masterpieces, even on ebay! A Mint 1968 first pressing of "Astral Weeks," by that I do mean on the 1960's UK orange Warner Bros. labels, will not magically appear in a search and the same is true for "Veedon Fleece." The reason why the stunning "Veedon Fleece" is now so rare as a first pressing is there to read in chart books, it was issued in November, 1974, Van Morrison was hardly going to break into the Top Ten, but spending only the one week in the UK charts and a fleeting glimpse of No. 41 was not a reflection of the greatness of the album. Seven days is as short a period chart books give, the effect of hearing it led to those constant and heavy plays, but this time there would not be a reprieve or a distraction for the records a subsequent follow up LP creates. Under normal circumstances Van would have released a new album in 1975, but this was an extremely troubled period for him, it would become a really long wait for fans. Nearly three years was an exceptionally long time without a new record being released and such a long period of inactivity was career threatening for the mere mortals in the music business. Personally I had started following his records in 1964, when I bought "Baby Please Don't Go", the Them" single backed by that staggering version of "Gloria," after his ten years of constantly touring and making records, an artist who was reliant on inspiration, but Van hit a brick wall and he came to a full stop. He went into a period of reclusive inactivity, he had done it all leading up to writing and recording the songs for his finest ever offering in "Veedon Fleece", the poor sales were exactly the same in America where it only made No. 54 on Billboard. That was not the main reason for almost retiring from ever performing again in 1974, recording and touring with orchestras, going through all the soul destroying pain of a divorce and like so many others who began in the early 60's, he was desperately in need of a break from it all. He would not re-emerge until 1977 with the "A Period Of Transition" album, meanwhile we just kept on on playing "Veedon Fleece," again and again, untill the grooves were worn smooth! After many long years of searching I finally found and sold a Mint first UK pressing of "Veedon Fleece" on ebay six years ago, the hunt immediately began all over again for another copy. Patience is essential for records and I now have an amazing Mint unplayed first UK pressing of the great "Veedon Fleece." Unplayed records that mean so much, always leave me caught in two minds, whether to take just one play or offer a rare true Mint album as I bought it, having just accepted a 1967 unplayed Beatles had to be offered tonight without me playing it, the same has to apply here. Like the single it's only correct for the next owner to experience the astonishing as new appearance of this rare 44 years old major record. The labels are the early 'Burbank' type, highly colourful and textured, even the merest contact with a spindle leaves positive traces, but like the gleaming vinyl, there are no traces of ever being handled, let alone played. In fact, this goes further than even a sealed record because they often have factory handling and that can include marks and scratches, technically they are still Mint. Everything about the labels and the vinyl have one conclusion, a Mint very first pressing of one of the greatest albums of all time. I know these first pressings very well, this will be a perfect sounding "Veedon Fleece," and "Streets Of Arklow" from an unplayed record is a mouth watering prospect, I had better conclude this description before temptation takes hold! {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. I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY 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 OF GENUINELY UNPLAYED VINYL. EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD. We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems. "There Are No Problems, Only Solutions" (John Lennon) MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION. ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO. WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT RECORDS AND COVERS ETC. WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD. 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