ELECTRIC LIGHT ORCHESTRA, Out Of The Blue [w/poster&spaceship] USA 1st press 2LP

$

47

Electric Light Orchestra ?– Out Of The Blue Label: Jet Records ?– JTLA-823-L2, Jet Records ?– JT-LA823-L2 Format: 2 × Vinyl, LP, Album, Santa Maria Pressing  Country: US Released: 1977 Genre: Rock Style: Prog Rock, Symphonic Rock Tracklist  A1 Turn To Stone 3:48 A2 It's Over 4:08 A3 Sweet Talkin' Woman 3:48 A4 Across The Border 3:52 B1 Night In The City 4:02 B2 Starlight 4:30 B3 Jungle 3:51 B4 Believe Me Now 1:21 B5 Steppin' Out 4:38 Concerto For A Rainy Day C1 Standin' In The Rain 4:20 C2 Big Wheels 5:10 C3 Summer And Lightning 4:13 C4 Mr. Blue Sky 5:05 - D1 Sweet Is The Night 3:26 D2 The Whale 5:05 D3 Birmingham Blues 4:21 D4 Wild West Hero 4:40 Companies, etc. Manufactured By – United Artists Music And Records Group, Inc. Distributed By – United Artists Music And Records Group, Inc. Phonographic Copyright (p) – United Artists Music And Records Group, Inc. Copyright (c) – United Artists Music And Records Group, Inc. Copyright (c) – United Artists Music Ltd. Copyright (c) – Jet Music Inc. Published By – Unart Music Corp. Published By – Jet Music Inc. Recorded At – Musicland Studios Mixed At – Musicland Studios Pressed By – Columbia Records Pressing Plant, Santa Maria Credits Arranged By [Orchestra & Choral Arrangments] – Jeff Lynne, Louis Clark, Richard Tandy Art Direction, Design – Kosh*, Ria Lewerke Artwork [Portraits] – Michael Bryan (4) Cello – Hugh McDowell, Melvyn Gale Conductor [Orchestra] – Louis Clark Drums, Rototoms, Cymbal, Gong, Percussion, Backing Vocals – Bev Bevan Engineer, Effects [Special Effects] – Mack (2) Illustration [Cover] – Shusei Nagaoka Lacquer Cut By [SR in runouts] – Stan Ricker Lead Vocals, Backing Vocals, Lead Guitar, Slide Guitar, Rhythm Guitar, Electric Piano [Wurlitzer E.P. 200], Synthesizer [Mini-moog], Percussion – Jeff Lynne Music By, Lyrics By – Jeff Lynne Producer – Jeff Lynne Synthesizer, Electric Piano [Yamaha C7B], Electric Piano [Wurlitzer E.P. 200], Mellotron, Clavinet, Guitar– Richard Tandy Violin – Mik Kaminski Vocals, Backing Vocals, Bass, Percussion – Kelly Groucutt Notes Columbia Records Pressing Plant, Santa Maria pressing as denoted by 'S2' etched in runouts. Came with fold-out poster of band and card punch-out fold-over spaceship model. Issued in gatefold cover  

USA FIRST PRESSING DOUBLE VINYL ALBUM IN GATEFOLD SLEEVE WITH POSTER AND UNUSED SPACESHIP MODEL AND ORIGINAL PRINTED INNER SLEEVES.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.  POSTER, SPACESHIP AND INNER SLEEVES ALL EXCELLENT MINUS.

DISCS: VERY GOOD+, JUST SHORT OF EXCELLENT MINUS. NO SCRATCHES, JUST A FEW LIGHT HAIRLINES AND A COUPLE OF FINGERPRINTS. CLEAN LABELS.

Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?

First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.

First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are  clearer.

On first and early pressings, the music tends to sound more ‘alive’ and vibrant.  The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.  

     
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