Nick Drake Bryter Layter UK 1st Press LP Pink Rim

$

412

Nick Drake's masterpiece Bryter Layter - The very first press on UK Island Records with the legendary Textured Sleeve.
There has been much confusion between this original first pressing and the later 1972 issue with a very similar label design. The only way to tell the two apart is the minor label differences. 
The later issue has the timings of the songs in brackets and the text 'Island Records Ltd' on the right hand side of the label next to the publishing date while this first issue has the song timings left open (no brackets). The later issue also has Joe Boyd's production credit printed on two lines rather than just the one, and removes the 'stereo' notation.

Both issues are found with -1 matrix numbers in the run out groove. 
The machine stamped matrix numbers are: 
ILPS 9134 A -1U 
ILPS 9134 B -1U
This is the VERY EARLIEST PRESSING.  Song titles are NOT IN BRACKETS and JOE BOYD's PRODUCTION CREDIT is PRINTED ON ONE LINE.


Condition - PLEASE READ THIS SECTION CAREFULLY
First of all, let me state that I am an "Audiophile" and that I purchase LPs on EBAY all the time.  Nothing pains me more than to receive an LP that has been misdescribed.  If you feel I have misdescribed the LP, I WILL PAY FOR YOU TO RETURN THE LP AND ISSUE A FULL REFUND.  As such, I do a visual grade under a strong lamp, and I play grade on TWO SYSTEMS.   First, I play grade on a REGA PS3-24 turntable with an EXACT cartridge, played through a MUSICAL FIDELITY  A3.2 DUAL MONO INTEGRATED AMPLIFIER, and DYANUDIO EXCITE 12 SPEAKERS.  This system picks up ANY NOISE.  The Exact Cartridge does exactly what the name suggests, plays exactly what is on the vinyl, it is extremely demanding.  Next, I play the LP on my other system which consists of a MUSIC HALL MMF - 2.2 LP turntable with a SHURE M97xE cartridge, played through a REGA BRIO AMP and KLH MODEL 5 Speakers.  This is a lower end audiophile set-up that does not pick up every detail, but is still more demanding than a BEST BUY set up.  So now for the details...
vinyl:  Visual Grade - NM (Minus) - There are hairlines here and there on the vinyl, probably form being taken in and out of the sleeve.   Play Grade - NM (Minus) - On my Music Hall set up this LP plays through silently with an intermittent non-intrusive surface noise occasional on side two.  On my more demanding Rega PS3-24 the LP again is mostly silent, but it does pick up occasional surface noise.  Whether this is from dust or the hairlines, I do not know.  It does play better with a dusting before the play.  Again, this surface noise is mostly non-intrusive and seldom (maybe once every other track for one rotation.)  On side two there is an occasional crackle on the first track, but again, it plays mostly silent.  I think the only way you'll find this pressing of this record in better condition is to find one still sealed.   This record is NOT MINT.  THERE IS SOME OCCASIONAL NON-INTRUSIVE SURFACE NOISE on my demanding system.  On most systems I am confident this would play MOSTLY SILENT.  I played it at a loud volume and listened for the SLIGHTEST IMPERFECTIONS.
In any event, if you have never heard a first UK pressing of this LP, you will be in for a MAJOR TREAT.  This is by far the best pressing of Bryter Layter.  The sound is warm and luxurious.  It sounds like Nick is in the room with you.  Later pressings tend to lose some of the dynamic range and space.  They sound compressed and tinny.  This one doesn't.  It was made to be heard in its analogue glory.  Listening to this will take you back to the studio.  The strings are soaring.  Richard Thompson's guitar sparkles as it does in no later pressing.  The condition of the vinyl does not take away the stellar sound of this first pressing.
cover: VG+ - This is the famed textured sleeve that all of the Bryter Layter's came in, manufactured by both EJ Day and Robor.  Island, at the time had both companies manufacturing its sleeves.  You will find 1st pressings housed in both the EJ Day and the Robor sleeve. This happens to be housed in the Robor Textured Sleeve.  The sleeve has seam wear, but the seams are still sturdy.  There is some color loss on the sleeve's seams though.  There is also a slight crease on the upper right hand corner and some "flaking" at the corners.  Overall, the cover looks stunning, and it is still sturdy.  The cover though is NOT MINT nor NEAR MINT.  PLEASE EXAMINE THE PHOTOS!!!
Payment: PAYPAL ONLY
SHIPPING - In U.S. it is $6.00 (NOT $4.00!!!!).  ELSEWHERE IT WILL BE BETWEEN $15.00 and $40.00 DEPENDING on WHERE YOU LIVE AND WHAT KIND OF SERVICE YOU REQUIRE.  TRACKING w/ SIGNED DELIVERY CAN BE EXPENSIVE INTERNATIONALLY.  PLEASE ENQUIRE ABOUT SHIPPING RATES IF YOU ARE OUTSIDE OF THE U.S.  PLEASE NOTE - I don' t ship to Italy or South America.
Your item will be packaged very securely. I've been selling vinyl for years and have never had a dissatisfied customer PLEASE READ MY FEEDBACK.  BEFORE LEAVING NEGATIVE OR NEUTRAL FEEDBACK, PLEASE CONTACT ME - REMEMBER Returns are accepted and I WILL PAY THE SHIPPING.
About the record...
With even more of the Fairport Convention crew helping him out -- including bassist Dave Pegg and drummer Dave Mattacks along with, again, a bit of help from Richard Thompson -- as well as John Cale and a variety of others, Drake tackled another excellent selection of songs on his second album. Demonstrating the abilities shown on Five Leaves Left didn't consist of a fluke, Bryter Layter featured another set of exquisitely arranged and performed tunes, with producer Joe Boyd and orchestrator Robert Kirby reprising their roles from the earlier release. Starting with the elegant instrumental "Introduction," as lovely a mood-setting piece as one would want, Bryter Layter indulges in a more playful sound at many points, showing that Drake was far from being a constant king of depression. While his performances remain generally low-key and his voice quietly passionate, the arrangements and surrounding musicians add a considerable amount of pep, as on the jazzy groove of the lengthy "Poor Boy." The argument could be made that this contravenes the spirit of Drake's work, but it feels more like a calmer equivalent to the genre-sliding experiments of Van Morrison at around the same time. Numbers that retain a softer approach, like "At the Chime of a City Clock," still possess a gentle drive to them. Cale's additions unsurprisingly favor the classically trained side of his personality, with particularly brilliant results on "Northern Sky." As his performances on keyboards and celeste help set the atmosphere,Drake reaches for a perfectly artful reflection on loss and loneliness and succeeds wonderfully.