THE FAMILY WAY OST NM 1967 LONDON MS 82007 1ST PRESS PAUL MCCARTNEY BEATLES
$
60
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Description
Vinyl: NM Play Graded. Plays Like New! Super High Gloss Vinyl. Superb Fidelity! London Labels are Clean and Bright. This is the RARE 1967 London 1ST PRESSING! MS 82007. Paul McCartney's very first Solo effort, with orchestrations arranged by George Martin. Done between Revolver and Sgt. Pepper, this soundtrack gives us some fascinating deja vu hints of orchestrations to come on Sgt. Pepper.
See Review Below!
In the Dead Wax: Side 1: XZAL 7598 (stampers)
Side 2: XZAL 7598 (stampers)
Cover: VG+ (see photos) Nice high gloss on cover. Front and back of cover artwork and text are rich, clear and bright, with some shelf wear on the front and some age spots on the back. Seams and spine are solid and clean, with one corner bump. No splits. No writing. Spine print is crystal clear.
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).
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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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 Richard S. Ginell [-]
While on a break between Revolver and Sgt. Pepper in late 1966, and with touring now out of the question and John Lennon off making the film How I Won the War, Paul McCartney tried his hand at a film score -- with a lot of help from Beatles arranger/producer George Martin. The rather pleasing result is one of the most elusive souvenirs of the Beatles' high tide in the '60s, long out of print, and commanding sky-high prices on the collectors' circuit. Only 24 minutes in length, the album is a collection of film cues based on a single McCartney tune, "Love in the Open Air," a plaintive melody reminiscent in some ways of "Here, There and Everywhere." (McCartney has since said that Johnny Mercer was planning to write lyrics for the song, but McCartney passed on it because at the time, he had never heard of Mercer.) The resourceful Martin then subjects McCartney's tune to variations and restatements in several kinds of orchestrations -- including, among other combinations, a proper British brass band; Duane Eddy-style guitar with soul organ; a small group with chamber strings, flutes, and classical guitar; and pre-echoes of Sgt. Pepper-era trumpets. The whole project reflects McCartney's melodic and harmonic bents, as well as Martin's distinct orchestral personality -- along with some commercial touches that definitively date this score as a product of the 1960s. It also should have pointed the way toward McCartney's classical collaborations with Martin, which might have produced some masterful work (McCartney, though, chose to work with other, less-simpatico orchestrators way off in the future). A United Artists single issued under the name of the George Martin Orchestra in 1967 offers a completely different, rock-edged treatment of "Love in the Open Air" -- even including some then-fashionable Tijuana Brass-style horns. This, too, will be difficult to locate.
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