AGNETHA FÄLTSKOG, Wrap Your Arms Around Me PROMO [w/bio+photo] USA EXC- LP Abba

$

50

  Agnetha Fältskog ?– Wrap Your Arms Around Me Label: Polydor ?– 422-813 242-1 Y-1 Format: Vinyl, LP, Album, 26  Country: US Released: 1983 Genre: Electronic, Pop Style: Europop Tracklist Hide Credits A1 The Heat Is On Written-By – Florrie Palmer, Tony Ashton 3:50 A2 Can't Shake Loose Written-By – Russ Ballard 4:20 A3 Shame Written-By – David Clark Allen* 3:40 A4 Stay Written-By – David Clark Allen* 3:20 A5 Once Burned, Twice Shy Written-By – Dan Tyler (3), Richard Spady Brannan* 3:40 A6 Mr. Persuasion Written-By – Larry Whitman, Susan Lynch* 2:45 B1 Wrap Your Arms Around Me Written-By – Holly Knight, Mike Chapman 5:16 B2 To Love Written-By – Jill Brandt, Randy Goodrum 3:40 B3 I Wish Tonight Could Last Forever Written-By – Russ Ballard 4:12 B4 Man Written-By – Agnetha Fältskog 3:31 B5 Take Good Care Of Your Children Written-By – Tomas Ledin 3:42 B6 Stand By My Side Written-By – David Cowles, Guido & Maurizio deAngelis* 4:16 Companies, etc. Manufactured By – PolyGram Records, Inc. Marketed By – PolyGram Records, Inc. Phonographic Copyright (p) – Polar Music International AB Copyright (c) – Polar Music International AB Mastered At – Masterdisk Pressed By – PRC Recording Company, Compton, CA Credits Accordion, Saxophone – Kajtek Wojciechowski Backing Vocals – Alan Silson, Berit Andersson, Chris Norman, Diana Nunez, Maritza Horn, Terry Uttley Bass, Arranged By [String Arrangements] – Rutger Gunnarsson Design [Album Design] – David Costa Drums – Per Lindvall Engineer – Michael B. Tretow Guitar – Lasse Wellander Harmonica – Mats Ronander Harp – Ingegerd Fredlund Mastered By – HW*  Other [Makeup Artist] – Lolo Murray  Percussion – Åke Sundqvist Photography By – Gered Mankowitz Piano, Organ, Synthesizer – Peter Ljung Producer – Mike Chapman Strings – Swedish Radio Symphony Orchestra*  Notes "HW" etching under "MASTERDISK" stamp indicates mastering by Howie Weinberg. #26 appears under "Stereo" on both A and B side labels, indicating that it was pressed at PRC Recording Company, Compton, CA. A Polar Music International Production. Digitally Recorded and Mixed at Polar Music Studios, Stockholm, January - March 1983. Mastered at Masterdisk.  (P)(C) 1983 Polar Music International AB Manufactured & Marketed by PolyGram Records. Note: Some covers are gold stamped as promotional. Barcode and Other Identifiers Barcode (Scanned): 042281324215 Barcode (Text): 0 422-813242-1 Matrix / Runout (Side A, Etched): 422·813 242·1-AS-C1-1-1  Matrix / Runout (Side B, Etched): 422·813 242·1-BS-C1-1-1  Matrix / Runout (Side A/B stamped): MASTERDISK Matrix / Runout (Side A/B, Etched): HW Pressing Plant ID: 26  

USA PROMO STAMPED  PRESSING VINYL ALBUM WITH HYPE STICKER, 3 SHEET RECORD LABEL BIOGRAPHY, 10X8B&W PHOTO AND ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. ALL INSERTS EXCELLENT MINUS.  INNER SLEEVE[S] VERY GOOD+ WITH NO SEAM SPLITS.

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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