ROLLING STONES Let It Bleed VG+1969 London 1ST PRESS w Poster 11-11-69 deadwax
$
82
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Description
Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?
First pressings are made from first generation lacquers and stampers. They usually sound vastly superior to later issues and re-issues (which are often pressed from whatever tapes or digital sources are currently available). First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider and 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, with inner details more clearer. On first and early pressings, the music tends to sound more ‘alive’ and vibrant.Vinyl: VG+ Play Tested. Sounds Great! Some warm vinyl crackle in some of the softer passages. Has a mark on side 2 song 1 that causes a soft repetitive tick in the background for about 35 seconds and in a different section of the song that's even softer, for about 15 seconds. Has some other marks that don't affect play. Boxed Blue London Labels are Clean. This is the Original 1969 London Records 1st Pressing! NPS-4. Perhaps the Greatest Stones Album of all-Time...certainly one of Rolling Stone Magazine's 500 Greatest Albums of All-Time! allmusic gives it 5 stars!!
In the Dead Wax: side one: XZAL-9363-2 11-11-69 AL side two: XZAL9364-2 11-11-69 AUDIO
Cover: VG+ (see photos) Includes the Poster and the Credits Sleeve Insert! The poster has pinholes in the corners and has a tiny torn corner in the upper left corner. The inner sleeve has been nicely taped on three sides.
Goldmine Standards. I play test every album that I sell on eBay as I have found you can't rate an LP accurately by just visually inspecting an album. I wipe the dust off of every cover with clean, unscented baby wipes. I professionally clean the vinyl.
See Review Below!
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AllMusic Review by Richie Unterberger [-]
Mostly recorded without Brian Jones -- who died several months before its release (although he does play on two tracks) and was replaced by Mick Taylor (who also plays on just two songs) -- this extends the rock and blues feel of Beggars Banquet into slightly harder-rocking, more demonically sexual territory. The Stones were never as consistent on album as their main rivals, the Beatles, and Let It Bleed suffers from some rather perfunctory tracks, like "Monkey Man" and a countrified remake of the classic "Honky Tonk Woman" (here titled "Country Honk"). Yet some of the songs are among their very best, especially "Gimme Shelter," with its shimmering guitar lines and apocalyptic lyrics; the harmonica-driven "Midnight Rambler"; the druggy party ambience of the title track; and the stunning "You Can't Always Get What You Want," which was the Stones' "Hey Jude" of sorts, with its epic structure, horns, philosophical lyrics, and swelling choral vocals. "You Got the Silver" (Keith Richards' first lead vocal) and Robert Johnson's "Love in Vain," by contrast, were as close to the roots of acoustic down-home blues as the Stones ever got.
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