TONES ON TAIL, Pop UK EXCELLENT- LP Bauhaus Daniel Ash

$

29

Tones On Tail ?– Pop Label: Beggars Banquet ?– BBL 51 Series: Lowdown – BBL 51 Format: Vinyl, LP, Album, Reissue  Country: UK Released: 1988 Genre: Electronic, Rock Style: Pop Rock, Goth Rock, Synth-pop Tracklist A1 Lions A2 War Rhythm Guitar – Juan Pedro Diego Ignatius Barraclough Y Valls A3 Happiness A4 The Never Never (Is Forever) A5 Performance Cello – Caroline Lavelle Engineer – Louis Austin B1 Slender Fungus B2 Movement Of Fear B3 Real Life B4 Rain Companies, etc. Recorded At – Rockfield Studios Recorded At – Beck Studios Recorded At – R.G. Jones Studios Pressed By – Lyntone Recordings Ltd. – LYN 21683 Pressed By – Lyntone Recordings Ltd. – L21684 Credits Engineer – Derek Tompkins, Ted Sharp (tracks: A3, B1 to B5)  Performer – Daniel Ash, Glenn Campling, Kevin Haskins Words By – Daniel Ash Written-By, Producer – Tones On Tail Notes Special low price reissue.  Recorded at Rockfield Studios, except tracks A1, A2 & A4 recorded at Beck, Wellingborough, and track A5 recorded at R. G. Jones  

UK VINYL ALBUM WITH ORIGINAL WHITE INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. INNER SLEEVE EXCELLENT MINUS.

DISC[S]:  EXCELLENT. NO MARKS OR SCRATCHES. 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.  

     
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