WHITESNAKE, Saints & Sinners [with obi+insert] JAPAN EXCELLENT- LP

$

38

  Whitesnake ?– Saints & Sinners Label: Polydor ?– 28MM 0207 Format: Vinyl, LP, Album  Country: Japan Released: Dec 1982 Genre: Rock, Blues Style: Blues Rock, Hard Rock TracklistHide Credits A1 Young Blood Soloist – Bernie Marsden Written-By – Marsden*, Coverdale* 3:29 A2 Rough An' Ready Soloist – Micky Moody Written-By – Coverdale*, Moody* 2:52 A3 Bloody Luxury Soloist – Bernie Marsden, Micky Moody Written-By – Coverdale* 3:23 A4 Victim Of Love Soloist – Micky Moody Written-By – Coverdale* 3:33 A5 Crying In The Rain Soloist – Bernie Marsden Written-By – Coverdale* 6:00 B1 Here I Go Again Soloist – Bernie Marsden Written-By – Marsden*, Coverdale* 5:06 B2 Love An' Affection Soloist – Jon Lord Written-By – Coverdale*, Moody* 3:08 B3 Rock An' Roll Angels Soloist – Jon Lord Written-By – Coverdale*, Moody* 4:06 B4 Dancing Girls Soloist – Jon Lord Written-By – Coverdale* 3:10 B5 Saints An' Sinners Soloist – Bernie Marsden Written-By – Whitesnake 4:20 Companies, etc. Phonographic Copyright (p) – Sunburst Records Ltd. Copyright (c) – Whitesnake Productions Ltd. Manufactured By – Polydor K.K. Produced For – Sunburst Published By – C.C. Songs Ltd. Published By – Seabreeze Music Ltd. Published By – Warner Bros. Music Ltd. Published By – Dump-Eaton Music Recorded At – Rock City Studios Recorded At – The Truck Mobile Recorded At – Battery Studios, London Mixed At – Battery Studios, London Mastered At – Utopia Studios Credits Backing Vocals – D.C.*, Mel Galley, Micky Moody Design [Album Cover] – The Concert Publishing Company Mastered By – Steve Angel Mixed By, Recorded By [Vocal Trax] – Martin Birch Producer – Saint Martin "Doc" Birch* Recorded By [Backing Trax] – Guy Bidmead Recorded By [Vocal Trax, Assistant] – Bryan New* Translated By – Kuni Takauchi* Notes ?1982 Sunburst Records Ltd. Manufactured by Polydor K.K., Japan The backing trax were recorded at Rock City, Shepperton; The Truck Mobile at Clearwell Castle, Gloucestershire and Brittania Row, London. The vocal trax were recorded at Battery Studios, London. Mixed at Battery Studios Sept/Oct 1982. Mastered at Utopia by Steve Angel Produced by Saint Martin "Doc" Birch for Sunburst Records and YOU! We wish you well... Barcode and Other Identifiers Rights Society: JASRAC Matrix / Runout (Side 1): 28MM-0207A L2 A-1-6 Matrix / Runout (Side 2): 28MM-0207B A-1-3 Other (Price): ¥2,800  

JAPAN PRESSING VINYL ALBUM WITH OBI, INSERT, ORIGINAL ANTI-STATIC INNER SLEEVE AND OUER SEALED SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.  INSERT/OBI AND INNER SLEEVE ALL 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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