1969 Orig SEALED "TIME CHANGES" Ford Theater POP PSYCH CONCEPTUAL Bosstown LP

$

23

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• ORIGINAL 1969 FIRST PRESS
• STILL FACTORY SEALED ..|/\|...............................................|/\|..
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• FORD THEATER
  
• "Time Changes"
  
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• USA - ABC Records - 681

STILL FACTORY SEALED -- (see details below)
RARE ORIGINAL 1969 second of two albums by psychedelic rock band
 The origins of Ford Theatre lie in a popular Boston-based group called Joyful Noise, which played the college circuit. The four members of the band were James Altieri (bass), Arthur Webster (guitar), Robert Tamagni (drums) and John Mazzarelli (keyboards, vocals). All of them were childhood friends from Milford, Massachusetts. The group attracted the attention of New Yorker Harry Palmer who first came across the band when attending college in Boston. Palmer was a composer by nature and was looking for that band that could play the musical ideas he had, and on his return to Boston, a few years later, contacted Joyful Noise to do just that. The link between the band and Palmer was their eventual manager Fred Cenedella who used to book bands for dances to pay off his tuition fees and who had met Palmer on a visit in 1965. There exist acetate recordings from 1967 of the quartet Joyful Noise as they made two demo recordings in the hope of acquiring a record deal.

The group were impressed by Palmer's material and slowly he became a fully fledged member of the band. However a few changes were made to the band. First a vocalist, Joe Scott, was drafted in (also from Milford, Massachusetts), and secondly the name of the band had to be changed. The reason for this was that Palmer's music was dark and ominous, a reflection of the times as America was still reeling from the assassination of President Kennedy and was in the midst of the Vietnam war. Thus Joyful Noise became Ford Theatre, the place where President Lincoln was shot. (Actually the name of that place is Ford's Theater, but the group dropped the 's and changed Theater to Theatre.) On the other hand an interview with the band at the time of the release of their first album has them dismissing the link and instead stressing that the name was actually a combination of two factors. The Ford was used as a sign that the group would one day make money doing auto commercials while on the other hand the Theatre gives the group a dramatic and serious slant. The first concert that the band played under the moniker of Ford Theatre came in the summer of 1967 at the Unicorn Theatre in Boston.

Following the release of the first album, the band went on tour of seven cities including Chicago, New York and Philadelphia performing with bands such as Big Brother And The Holding Company, Iron Butterfly and Procol Harum as well as playing local television shows. However poor promotional backing from ABC did not help the band. A classic example was the summer of 1968 when the band played in front of 10,000 people at the Kiel Auditorium, sharing the bill with Big Brother and Iron Butterfly. The album was being played in heavy rotation in its entirety on the local radio (KSHE), thus achieving a large amount of publicity. However there was one snag. The area of St Louis was not supplied with records of the band and thus all the publicity that was achieved was all useless!

September of 1969 saw the release of the band's second album, Time Changes,  a concept album, most of which were new songs composed by Harry Palmer. Recordings took place at the original Hit Factory in New York while production was entrusted to Bill Scymczyck. Time Changes was the first piece of production work for Szymczyck, who would go on to achieve fame for his production work with James Gang, Joe Walsh, Edgar Winter and The Eagles. and tons of other name bands.

Ford Theatre's second album is more subdued and song-oriented than their debut. There's still a downbeat tone to the tunes, but they're more reflective and wistful, and less filled with psychedelic angst. The assaultive organ of the debut is definitely toned down. There's still a San Francisco influence in the squiggly tones of the guitar and the minor-shaded harmonies and melodies, particularly on (what a surprise) "Jefferson Airplane," the track with the best balance between the pop harmonies and into-the-abyss guitar-organ breaks. Some strings push the record more toward pop, but not to its disadvantage. The words often take the sentiments of someone growing older and more disillusioned with passing time; "I Feel Uncertain" is pretty reminiscent of Tim Hardin's early compositions. "Good Thing," by contrast, could have almost fit on an early Youngbloods album with its buoyant optimism. Oddly, one of the songs from their first album, "Back to Philadelphia," is reprised in a different version. The insertion of several brief instrumental interludes, in common with quite a few other records of the era, give rise to conceptual pretensions which really aren't supported by the album's proper songs, though they have their uses in maintaining the period mood of the record!

1.  PROLOGUE
      TIME CHANGES, is the story of a young man named
      Clifford Smothergill (known to his friends as Clifford) and his
      search for meaning and significance in life. This musical tale is
      based on the life of a very real person, whose true identity is
      a matter for very careful consideration, significant as it is.
   
   
   ACT I
       01. INTRODUCTION (1:00) Being as it is, an introduction.
       02. TIME CHANGES (3:09) and so it does. The Chorus (consisting of our main character) discusses our theme.
       03. INTERLUDE ONE (1:14) Enter Puck, wandering minstrel, who will introduce the characters in our play, and reappear from time to time to tie together the loose ends of our plot.
       04. THAT'S MY GIRL (2:12) a significant scene, wherein, we find Clifford in the midst of his first meaningful love affair.
       05. WAKE UP IN THE MORNING (3:08) And upon doing so, Clifford finds himsef a victim of man's eternal adversaries––doubt and insecurity. In short, Clifford panics.
       06. I'VE GOT THE FEVER (5:17) Finding his doubt and insecurity to be justified as the result of Mary Jane's leaving him in his hour of need, our hero sinks into the lowest depths of despair and experiences frantic moments that severely shake his faith in humanity.
       07. CRASH (1:06) Which he did.
       08. AT THE STATION (3:51) The possibility of finding some meaningful answers at home occurs to Clifford which prompts him to leave New York and return to Philadelphia.
   
       End of Act I
   
   ACT II
       09. BACK TO PHILADELPHIA (3:58) Bringing it all back home proves to be a futile attempt at solving his problems, and so poor Clifford is left with the realization that his search for meaning must go on.
       10. CLIFFORD'S DILEMMA (1:58) A choice must be made, and Clifford considers the two possibilities––a return to New York and to Mary Jane or an aimless wandering.
       11. JEFFERSON AIRPLANE (2:59) Our hero decides to wander aimlessly for a while, and in doing so he loses touch with most of the world around him. Clifford Smothergill experiences a journey that few minds can endure. (ed. note––Heavens to Mergatroid!)
       12. I FEEL UNCERTAIN (2:26) Who can survive too long a journey such as this?!!? Our hero can take it only so long, and eventually he decides to return to Mary Jane and to resume the love affair. Mary Jane receives him gladly (after having gone through some pretty heavy changes herself), and now Clifford is left once again with haunting feelings of insecurity.
       13. INTERLUDE TWO (1:18) Re-enter Puck, who will now enlighten us somewhat concerning a few of the more subtle aspects of our plot.
       14. GOOD THING (2:17) Oh, glorious day for Clifford!! Finally, he is convinced that he has found meaning and significance in life. Let us only hope that herein lies the end to our noble hero's desperate search.
       15. OUTRODUCTION (1:13) Wherein Puck sums up our story in a most lucid fashion, bringing to mind the philosophical significance of all that has transpired.
   
   END
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     CONDITION:
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5. RATED: NEVER PLAYED - STILL FACTORY SEALED ... this seems to be a store or company re-wrap as the seal is the old style with seams across the mid back cover - which pulled apart so many times - exactly as this copy shows. However enough of the seal is obvious it has not been opened and all the cellophane seal front and back is there. You will find a tiny delete drill at top right. There are no split seams, no bends, and no writing  ...
6. The record remains UN-PLAYED
   

A cool addition to anyone's music library! 
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  GRADING SCALE: M, M-, EX, VG++,VG+, VG, VG- M    Completely clean, no marks, plays clean
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EX   Faint scuff or superficial mark, near M-, high gloss, plays clean VG++ Glossy with minimal scuffing or light mark playing very nice, enjoyable
VG+ a bit more scuff or marks still plays well with very minimal surface at worse VG   more marks/scratches only minor, nothing deep, no loud clicks or pops         this grade is abused by many, VG here does not mean "trashed" VG-  surface noise present, will not have skips or jumps     ALL PAYMENTS SHOULD BE MADE WITHIN 5 DAYS Of AUCTIONS END   BIDDERS PLEASE = Do Not Bid If You Are Not Serious About  Following Through The Transaction!   ALL ITEMS GUARANTEED FOR WINNING BID - LESS SHIPPING!