NEIL YOUNG & CRAZY HORSE Everybody Knows This Is Nowhere VG+1969 Reprise 6349 1A
$
25
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Description
Vinyl: VG+ Play Graded. Sounds Great! Reprise Labels are Clean. This is the Original 1969 Reprise 1ST PRESS! RS 6349. 1A/1A. This is the Beginning of Neil Young's Signature Sound...he has drifted from time to time, but if you want to know where Neil's head is at, start here...allmusic gives it 5 stars! See Review Below!
In The Dead Wax: Side 1: 30910 RS-6349 A 1A B16 S Side 2: 30911 RS-6349 B 1A E22
Cover: VG+ (see photos) Gatefold. Nice high gloss on cover. Front and back of cover artwork and text are rich, clear and bright, with some minor ring wear. Seams and spine are solid and clean with some wear. No splits. No writing. Spine print is clear.
U.S. Shipping: $4 Media Mail. Tracking included. 50 cents additional shipping per additional item, when the shipment is combined. If you wish to take advantage of my COMBINED SHIPPING deal, simply select your items by clicking on "ADD TO CART" on the main listing page. Do this for all of your selections and then go to your cart to checkout. Your combined shipping discount will be computed automatically. Free domestic shipping if you spend $100 or more!
All records are packaged securely with the vinyl outside the jacket (to avoid seam split in transit). The vinyl and jacket are sandwiched between two cardboard stiffeners and shipped in a custom cardboard record mailer box.
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Goldmine Standards. I play grade every record that I sell on eBay as I have found you can't rate a record accurately by just visually inspecting it. I wipe the dust off of every cover with clean, unscented baby wipes. I professionally clean the vinyl. (I also operate a Vinyl Record Cleaning business for your dusty/dirty records--if interested, send me a message).
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.
AllMusic Review by William Ruhlmann [-]
Neil Young's second solo album, released only four months after his first, was nearly a total rejection of that polished effort. Though a couple of songs, "Round Round (It Won't Be Long)" and "The Losing End (When You're On)," shared that album's country-folk style, they were altogether livelier and more assured. The difference was that, while Neil Young was a solo effort, Everybody Knows This Is Nowhere marked the beginning of Young's recording association with Crazy Horse, the trio of Danny Whitten (guitar), Ralph Molina (drums), and Billy Talbot (bass) that Young had drawn from the struggling local Los Angeles group the Rockets. With them, Young quickly cut a set of loose, guitar-heavy rock songs -- "Cinnamon Girl," "Down by the River," and "Cowgirl in the Sand" -- that redefined him as a rock & roll artist. The songs were deliberately underwritten and sketchy as compositions, their lyrics more suggestive than complete, but that made them useful as frames on which to hang the extended improvisations ("River" and "Cowgirl" were each in the nine-to-ten-minute range) Youngplayed with Crazy Horse and to reflect the ominous tone of his singing. Young lowered his voice from the near-falsetto employed on his debut to a more expressive range, and he sang with greater confidence, accompanied by Whitten and, on "Round Round," by Robin Lane. Everybody Knows This Is Nowhere was breathtakingly different when it appeared in May 1969, both for Young and for rock in general, and it reversed his commercial fortunes, becoming a moderate hit. (Young's joining Crosby, Stills & Nash the month after its release didn't hurt his profile, of course.) A year and a half after its release, it became a gold album, and it has since gone platinum. And it set a musical pattern Young and his many musical descendants have followed ever since; almost 30 years later, he was still playing this sort of music with Crazy Horse, and a lot of contemporary bands were playing music clearly influenced by it.
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