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J The Psychedelic Artwork    is not for sale!!  Just for fun!!   J   Artist The Art of Lovin'     Album The Art of Lovin'     Cover Condition VG       Seam Splits Top seam split but neatly repaired with clear tape. Some minor corner wear. (see pics)     Writing No  writing      Discoloration / Ring Wear No ringwear; Back of sleeve pasted imperfectly by factory     Stickers No stickers, very clean cover.     Vinyl Condition VG+     Scratches / Groove Wear Very clean vinyl with barely any noticeable noise/wear.     Writing on label No   writing on label     I always rate my records down one level than I feel they should be, due to opinion differences.  Please note that I can not possibly play test every LP.  If there are any problems, please let me know, as my return policy is fair.  CDs are rated NM if opened but played no more than once.   RDTEN1 May 12 2009


Vinyl


[Rating22539033] In an effort to compete with the success RCA Victor and other labels were having with San Francisco based bands, the mid-1960s found Mike Curb and MGM Records signing virtually every New England band they could lay their hands on. In their efforts to market the Bosstown Sound, Curb and company somehow managed to miss one of Massachusetts more talented outfits - The Art of Lovin'.

Built around the talents of singer/guitarist Paul Applebaum, bassist Johnny Lank, sax player Barry Tatelman, vocalist Gail Winnick and drummer Sandy Winslow, 1968 saw the band signed by the small Detroit-based Mainstream Records. Released later in the year, "The Art of Lovin'" made for one of the year's more interesting debuts. Curiously, for years I'd read reviews that labeled this album as being folk-rock oriented. It's not. That said, the first time I spun the collection I was left with the nagging feeling I'd heard it somewhere before. The second time around, the comparison instantly dawned us. Powered by Applebaum's pseudo-psychedelic material and Winslow's crystalline voice, stylistically tracks such as 'What the Young Mind Says', the rocker 'Take a Ride' and 'Good Times' bore more than a passing resemblance to early Jefferson Airplane. Imagine the Airplane having elected to abandon some of their more strident moves in favor of a slightly more commercial orientation and you'll get a good feel for the LP. At the other end of the spectrum, harmony rich tracks such as 'Daily Prayer' sounded like The Mamas and the Papas having abandoned their chirpy top-40 orientation. Simultaneously catchy and quite commercial, it's easy to see why this album is valued so highly by collectors. The funny thing is that it gets better each time I go back and listen to it.

"The Art of Lovin'" track listing:
(side 1)
1.) Paul's Circus (Paul Applebaum) -
2.) What the Young Mind Says (Paul Applebaum) -
3.) Take a Ride (Paul Applebaum) -
4.) Good Times (Paul Applebaum) -
5.) Daily Prayer (Paul Applebaum) -

(side 2)
1.) The First Time (Paul Applebaum) -
2.) And I Have Seen Them All (Paul Applebaum) -
3.) You'll Walk Away (Gail Winnick - Paul Applebaum) -
4.) (How Can We) Hang On To a Dream (Tim Hardin) -
5.) State of Mind (Paul Applebaum) -

There's also a non-LP 1968 single 'You've Got the Power' b/w 'Good Times' (Mainstream catalog number 687).

Shortly after the album was released Winslow suffered a schizophrenic episode that left him in and out of care for the next 30 years. In spite of his fragile mental health, he managed to attract national attention through his scratchboard art. Sadly, in October 2002 he died after a brief bout with cancer. I found a short, but touching on-line tribute to Wilson at:

http://www.janesaddictions.com/winslow01.htm

Through the magic of the internet I also got a brief note from Paul Applebaum:

I had to laugh, someone finally liked my music! I thought the album was dead and buried. Nice to know that it is being kept alive. Is there anyway that I can get copies of past critiques, articles, etc. about the band that were mentioned in the review.

Thanks again,
Paul Applebaum
June 2007


Paul Applebaum was also kind of enough to share a little more about the band:

We were a bunch of kids who loved creating music in a time that was ripe for psychedelic pop. We spent most of our time working on the tunes in the bass player's basement. A tape was sent to Mainstream records through a friend and we got signed, much to our surprise. A month later we were in NY recording. The entire album took 20 hours to record at A&R Studios. It was a fantastic experience. We had a ball doing the "rock star" thing, well, at least in our heads.

I guess we were one of the projects that Mainstream was hoping to sell off if our music could show some limited success, as they had done with Big Brother and the Holding Company and the Amboy Dukes. Unfortunately, the album didn't do that well, although Billboard red-starred us, and described us as a cross between the Mamas and Papas and Jefferson Airplane. Quite a compliment, and totally unexpected.

We didn't play out too much. We opened for Mountain once at a club in Boston, and otherwise did a few local gigs. We disbanded shortly after the LP came out. Most of the members headed off to college, and felt that the band was an enjoyable endeavor, but not so much of a commitment that they would put off a college education, etc.


It was a great experience, and I admit that I am still amazed that the album generates interest, 40 years later.

Paul Applebaum
November 2007 tymeshifter Dec 21 2009
Great

Vinyl


[Rating26847742] Garage flavored flower pop/psych with Grace Slick-sounding female vocals, blended with some male vocals here and there, and featuring Farfisa organ, some fuzz guitar and other subtle guitar work, and with mild psych effects. I get the Airplane comparisons, but to me, they sound more like the Love Exchange, and are vaguely reminiscent of The Mojo Men. This one sat dormant for many years on my shelf, as it kind of went by me back then, but I get it now. Grades - 2 A-'s, a B+, a B, 3 B-'s, a C+, and 3 C's. This one may be second only to Bohemian Vendetta in terms of rarity on this highly collectible label. Great period flavor too.

Boston Sound Home Page

The Art of Lovin'

I missed them back in the day but have heard about them in later years. Online some have praised the album as the best of the Bosstown Sound and an underappreciated classic.
It has a quiet and calm air to it. The playing is very good and the girl singer is distinctive.
There is some good info and a picture of the band on the Music Museum of New England site....THE ART OF LOVIN

The Art of Lovin'  
Johnny Lank, Gail Winnick, Sandy Winslow, Barry Tatelman, Paul Applebaum.

One of the band members, Johnny Lank, is still out there and has sent this bio and update...
The Art of Lovin' always practiced at Johnny Lank's house. (His mother loved listening) They are all from Newton, Massachusetts. Paul Applebaum wrote all music. At that time in the 60's the Bosstown Sound was just starting with the help from various dj's like Dick Summer. Even though it got started, it never got enough traction to sustain, and soon fizzled out.
After signing on with Mainstream records the group recorded their album in New York at A&R recording studios. The group's album was reviewed in Billboard magazine and received a red bullet, which means, most likely to succeed, along with Frank Sinatra and others.
The group was always mentioned as the Jefferson Airplane of the east coast. Some of their sound was also emulating the Byrds and other folk rock groups but with more of an edge at times. They played the Psychedelic Supermarket/Unicorn Coffeehouse with other Boston groups like Edens Children and Ultimate Spinach.
Paul Applebaum (guitar), Johnny Lank (bass/lead guitar) and Barry Tatelman (keyboard) still live in Massachusetts. Gail Winnick (vocal) live out west, and Sandy Winslow (drums) passed away. In 2010 Shindig Magazine, a British publication, gave a huge spread to the Bosstown Sound and featured The Art of Lovin' along with the Beacon Street Union, Orpheus and other groups from that era. Again in 2010 the Art of Lovin' was played in an academy award nominating movie called "A Serious Man"
Johnny Lank still jams with his kids
Paul Applebaum is a lawyer and has a music studio called Dad's.
Barry Tatelman has retired from the furniture business and is pursuing other ventures but loves to drum.
Gail Winnick is a mother and I'm sure still a singer.

 

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Biography

Massachussetts outfit whose only album (released in 1968) is full of interesting and quite imaginative psych-folk rock with great female vocals by Gail Winnick.
The Art Of Loving have a mixed male/female vocal style at their head - a sound that’s somewhere in the Mamas & Papas mode, but a bit more stripped down - and crafted here with leaner, darker sounds that are really great - and almost a bit spooky at times! As with other Mainstream rock sessions, there’s something magical about the way the bass is recorded - a completely flat tone that pushes the music up from the bottom , and really makes a magical platform for rougher guitar, organ, and drums. Tracks are almost all originals by male singer Paul Applebaum.

1. Art Of Lovin - What The Young Minds Say

   by JugglerOfMusic • 2 years ago • 20,371 views

   All The Videos From The Psychadilsnik Page Will Be Back up Soon

2. 2:40

   The Art Of Lovin'-Good Times

   by collinskun9 • 4 years ago • 10,363 views

   The Art Of Lovin'

3. 3:05

   The Art Of Lovin'-You've Got The Power

   by saico66 • 1 year ago • 3,402 views

   60's psych band from Massachusetts,USA

more images

Art Of Lovin', The?– The Art Of Lovin'

Label: Mainstream Records – S/6113 Format: Vinyl, LP, Album
Country: US Released: 1968 Genre: Rock Style: Pop Rock, Psychedelic Rock

Tracklist?

A1 Paul's Circus 3:10 A2 What The Young Minds Say 2:35 A3 You've Got The Power 2:57 A4 Take A Ride 3:03 A5 Good Times 2:28 A6 Daily Prayer 2:43 B1 The First Time 3:27 B2 And I Have Seen Them All 3:13 B3 You'll Walk Away 2:22 B4 (How Can We) Hang On To A Dream 2:45 B5 State Of Mind 3:35

Credits?

• Bass– Johnny Lank
• Design [Cover Design]– Jack Lonshein
• Drums, Percussion– Sandy Winslow
• Engineer– Roy Cicala
• Liner Notes– Robert Simon
• Photography By [Liner]– Lionel Wood
• Recording Supervisor– Bob Shad
• Saxophone– Barry Tatelman
• Vocals– Gail Winnick
• Vocals, Lead Guitar– Paul Applebaum
• Written-By– Gail Winnick (tracks: B3), Paul Applebaum (tracks: A1 to B3, B5), Tim Harden* (tracks: B4)

Barcode and Other Identifiers?

• Matrix / Runout (Runout etching side A): 6113 KY-560
• Matrix / Runout (Runout etching side B): 6113 KY 561

 

 

 

 

LP

New: Unopened and Mint   (10 on a scale of 1 to 10)
M: Mint   (9 on a scale of 1 to 10)
NM: Near Mint   (8 on a scale of 1 to 10)
• VINYL: Record appears virtually flawless
• A very minor scuff and very little else can appear on the vinyl.
• It should play without any noise over the flaw. The flaw is very hard to see.
• The cover looks as close to perfect with only minor signs of wear and or age.
• Minor impressions to the cover (due to the outer edge of the vinyl resting inside) may be acceptable; however the artwork is as close to perfect as can be.
• No cut-out holes.
• Looks brand new just shrink wrap removed.  VG++: Very Good Plus Plus   (7 on a scale of 1 to 10)
• VINYL: Minor scuffs which are only slightly visible.
• There may be more than a few scuffs and NO Scratches
• COVER: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear!
• Some slight creases to the corners, but not wrinkled and obtrusive to the eye.
• The corners can show white (where the artwork pasted slick was) meaning, slight wear.
• No seam splits or writing on the cover or taped repairs can make this grade.  VG+:   Very Good Plus   (6 on a scale of 1 to 10)
• VINYL: Record shows wear, surface scuffs, or very light scratches that don't affect one's listening experiences.
• Flaws will be noticeable to the naked eye. If the flaws don't cause any surface noise, the vinyl can still make the VG+ grade.
• Slight warps that do not affect the sound are "OK". 
• COVERS: A virtually clean cover, but may have small writing on it. 
• The artwork looks clean with slightly more aging. The back of the cover usually gives away the age of the cover. Flat white paper will be somewhat yellow yet no stains or mildew from water damage.
• Some minor wear to the seams or spine, but no tears or holes popping through.
• The corners will be slightly dog eared yet no crackly bends, defacing the artwork.
• May be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount.
• A VG+ cover should have no more than 3 flaws mentioned. VG:  Very Good    (5 on a scale of 1 to 10)
• VINYL may not look very good, but it will STILL play very good.
• Almost always some surface noise when played.  Dynamics should still be excellent, overpowering the surface noise.
• Covers will look worn, used.  Some seam splitting.
• Some ring wear, where the ink has begun to wear off.
• May be some writing on the cover but no large letters in magic marker
• Labels, picture sleeves and/or covers may have tape or stickers (or their residue) attached
• Can look aged and yellowish due to contaminations in the air (sometimes looking like cigarette smoke). Still it should be decent.
• Groove wear and light scratches can affect the sound (deep enough to feel with a fingernail)
• Only 2 to 3 of these problems at the same time.
G+: Good Plus    (4 on a scale of 1 to 10)
G: Good    (3 on a scale of 1 to 10)
• Good does not mean Bad!
• VINYL record will look worn, dull, grayish, abused, but will play through without skipping.
• Will have significant distracting surface noise, and scratches and groove wear  are visible.
• COVER/SLEEVE will have seam splits, especially at the bottom or on the spine.  May be scotch tape repaired, no duct tape or masking tape.
• Tape, writing, ring wear or other defects will start to overwhelm the object.
• May have large magic marker writing on the cover F: Fair     (2 on a scale of 1 to 10)
• Cover will looked virtually trashed, but some artwork will still be noticed. If the artwork is worn, it is POOR and the cover is worthless.
P: Poor     (1 on a scale of 1 to 10)
• VINYL record is cracked, badly warped, and won't play through without skipping or repeating.
• COVER/SLEEVE is water damaged, split on all three seams and heavily marred by wear and writing.
• The LP cover barely keeps the LP inside it.  My YouTube Feature - Kevin's Live Music Video Vault http://www.youtube.com/playlist?list=PL9CE07D64936CE306 My kids newspaper project on Facebook http://www.facebook.com/pages/The-Wiki-Weekly/266866373375558?ref=hl My ebay items for sale http://www.ebay.com/sch/m.html?_sop=1&_from=&_nkw=&_dmd=2&_armrs=1&_ssn=psychedelic-kevin&_ipg=96&rt=nc

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