JOHN MCLAUGHLIN/AL DI MEOLA/PACO DE LUCÍA Friday Night Live HALF SPEED MASTER LP
$
35
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Description
Al Di Meola, John McLaughlin, Paco De Lucía ?– Friday Night In San Francisco Label: Columbia ?– HC 47152 Series: CBS Mastersound – Format: Vinyl, LP, Album, Half Speed Mastered Country: US Released: 1981 Genre: Jazz Style: Acoustic, Latin Jazz Tracklist Hide Credits A1 Mediterranean Sundance / Rio Ancho Composed By – Al Di Meola, Paco De Lucía Performer [Left Channel] – Paco DeLucía* Performer [Right Channel] – Al Di Meola 11:31 A2 Short Tales Of The Black Forest Composed By – Chick Corea Performer [Left Channel] – John McLaughlin Performer [Right Channel] – Al Di Meola 8:41 B1 Frevo Rasgado Composed By – Egberto Gismonti Performer [Left Channel] – John McLaughlin Performer [Right Channel] – Paco DeLucía* 7:55 B2 Fantasia Suite Composed By – Al Di Meola Performer [Left Channel] – Paco DeLucía* Performer [Middle Channel] – John McLaughlin Performer [Right Channel] – Al Di Meola 8:50 B3 Guardian Angel Composed By – John McLaughlin Performer [Left Channel] – Paco DeLucía* Performer [Middle Channel] – John McLaughlin Performer [Right Channel] – Al Di Meola 4:00 Companies, etc. Record Company – CBS Inc. Phonographic Copyright (p) – CBS Inc. Copyright (c) – CBS Inc. Manufactured By – Columbia Records Recorded At – The Warfield Recorded At – Minot Sound Mixed At – Minot Sound Mastered At – Masterdisk Recorded By – Tim Pinch Recording Credits Acoustic Guitar [Uncredited] – Al Di Meola, John McLaughlin, Paco De Lucía Design – Paula Scher Engineer [Mixing Engineer] – Ray Bardani (tracks: A1 to B2), Ron Carran (tracks: B3) Engineer [Recording Engineer] – Rex Olsen (tracks: A1 to B2), Ron Carran (tracks: B3), Tim Pinch(tracks: A1 to B2), Tom Pinch (tracks: A1 to B2) Executive-Producer – Barrie Marshall, Philip Roberge Mastered By – Bob Ludwig Producer – Al Di Meola, John McLaughlin, Paco DeLucía* Typography [Cover Lettering] – Seth Shaw Notes "Half Speed Mastered" "CBS Master Sound Audiophile Pressing" Recorded Live at The Warfield Theatre, San Francisco, California, Friday, December 5, 1980, except "Guardian Angel", recorded and mixed at Minot Sound, White Plains, New York. Recorded live by Tim Pinch Recording Mobile. © 1981 CBS Inc. / ? 1981 CBS Inc. Barcode and Other Identifiers Barcode (String): 07464471521 Barcode (Text): 0 7464-47152-1 Matrix / Runout (Label Side A): HAL 47152 Matrix / Runout (Label Side B): HBL 47152 Matrix / Runout (Run-Out Side A): HAL 47152-2G T2 COLUMBIA NY Matrix / Runout (Run-Out Side B): HBL 47152-1E 1T COLUMBIA NY
USA MASTERSOUND HALF SPEED MASTER PRESSING VINYL ALBUM WITH INSERT AND GENERIC POLY-LINED INNER SLEEVE.
SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. INNER SLEEVE[S] VERY GOOD+ WITH NO SEAM SPLITS.
DISC[S]: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW LIGHT HAIRLINES. 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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