STING, Bring On The Night UK 1st pressing EXCELLENT- 2LP

$

20

Sting ?– Bring On The Night Label: A&M Records ?– BRING 1 Format: 2 × Vinyl, LP, Album  Country: UK Released: 1986 Genre: Jazz, Rock Style: Jazz-Rock Tracklist  A1 Bring On The Night / When The World Is Running Down You Make The Best Of What's Still Around 11:42 A2 Consider Me Gone 4:55 A3 Low Life 4:06 B1 We Work The Black Seam 6:59 B2 Driven To Tears 7:00 B3 The Dream Of The Blue Turtles / Demolition Man 5:55 C1 One World (Not Three) / Love Is The Seventh Wave 11:08 C2 Moon Over Bourbon Street 4:19 C3 I Burn For You 5:24 D1 Another Day 4:47 D2 Children's Crusade 5:26 D3 Down So Long 4:38 D4 Tea In The Sahara 6:25 Companies, etc. Pressed By – PRS Ltd. Phonographic Copyright (p) – A&M Records Ltd. Copyright (c) – A&M Records Ltd. Published By – Virgin Music (Publishers) Ltd. Published By – Magnetic Publishing Ltd. Published By – Arc Music Corp. Mixed At – AIR Studios, Montserrat Lacquer Cut At – Utopia Studios Credits Art Direction – Michael Ross (3) Backing Vocals – Dolette McDonald, Janice Pendarvis Bass – Darryl Jones Booking – Buck Williams (4), Frontier Booking International, Ian Copeland, Teresa Green (2) Crew [Monitor Mixer] – Tom Herrman Crew [Rigger] – Deryck Dickinson Crew [Tasco Lighting] – Bill Neil (2), Jim Laroche Crew [Tasco Sound] – John Roden, Martin (Ferret) Rowe*, Tony Blanc Design – John Warwicker, Michael Ross (3) Drums – Omar Hakim Engineer – Gerd Rautenbach, Jim Scott, Kim Turner, Peter Brandt Keyboards – Kenny Kirkland Lighting Director – Nick Sholem Management – Kim Turner, Miles Copeland (2) Management [Road Manager] – Billy Francis (2) Painting – Donna Muir, Su Huntley Photography By – Denis O'Regan, Muir*, Michael Ross (3), Huntley*  Producer – Kim Turner, Sting Production Manager – Keith Bradley Recorded By – Dierks Mobile 2*  Saxophone – Branford Marsalis Technician [Bass, Keyboards] – Tam Fairgrieve Technician [Drum] – Billy Thompson*  Technician [Guitar] – Danny Quatrochi Written-By – A. Atkins* (tracks: D3), J.B. Lenoir (tracks: D3), Sting (tracks: A1 to D2, D4)  Notes ? © 1986 A&M Records Ltd Tracks A1, A3, B2, C3 published by Virgin Music (Publishers) Ltd. Tracks A2, B1, C2, D1, D2, D4 published by Magnetic Publishing Ltd. Tracks B3, C1 published by Magnetic Publishing Ltd./Virgin Music (Publishers) Ltd. Track D3 published by Arc Music Corporation Tracks A1, B1 to C1, C3 recorded Paris, December 23rd, 1985 Tracks A2, D3 recorded Paris, May 29th, 1985 Tracks A3, D1 recorded Rome, December 4th, 1985 Tracks C2, D2, D4 recorded Arnhem, December 21st, 1985 Released with custom inner-sleeves. Barcode and Other Identifiers Barcode: 0 82839 67051 7 Matrix / Runout (Side 1 Stamped): BRING 1 A//1?420 U 11 2U Matrix / Runout (Side 2 Stamped): BRING 1 B//1?420 U 14 1 Matrix / Runout (Side 3 Stamped): BRING 1 C//1?420U 1 4 2 Matrix / Runout (Side 4 Stamped): BRING 1 D//1?420U 1 1 2 1 Matrix / Runout (Etched Sides 2 And 4): ?TOPIA  Rights Society: MCPS/BIEM  

UK FIRST PRESSING DOUBLE VINYL ALBUM WITH ORIGINAL PRINTED INNER SLEEVES.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.   INNER SLEEVES VERY GOOD+ WITH NO SEAM SPLITS.

DISCS: 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.