BOB DYLAN, Down in the Groove USA 1st pressing EXCELLENT- LP

$

29

  Bob Dylan ?– Down In The Groove Label: Columbia ?– OC 40957, Columbia ?– C 40957 Format: Vinyl, LP, Album, Direct Metal Mastering  Country: US Released: 1988 Genre: Rock Style: Folk Rock, Classic Rock TracklistHide Credits A1 Let's Stick Together Bass – Randy Jackson (2) Drums – Steve Jordan Guitar – Danny Kortchmar Vocals, Guitar, Harmonica – Bob Dylan Written-By – W. Harrison* 3:14 A2 When Did You Leave Heaven? Drums – Stephen Shelton (2) Vocals, Guitar – Bob Dylan Vocals, Keyboards – Madelyn Quebec Written-By – R. Whiting*, W. Bullock* 2:13 A3 Sally Sue Brown Backing Vocals – Bobby King, Willie Green* Bass – Paul Simonon Drums – Myron Grombacher Guitar – Steve Jones (2) Keyboards – Kevin Savigar Vocals – Madelyn Quebec Vocals, Guitar – Bob Dylan Written-By – J. Alexander*, E. Montgomery*, T. Stafford* 2:26 A4 Death Is Not The End Backing Vocals – Clydie King, Full Force Bass – Robbie Shakespeare Drums – Sly Dunbar Guitar – Mark Knopfler Keyboards – Alan Clarke* Vocals, Guitar, Harmonica – Bob Dylan Written-By – B. Dylan* 5:08 A5 Had A Dream About You, Baby Bass – Kip Winger, Ron Wood Drums – Henry Spinetti Guitar – Eric Clapton Keyboards – Beau Hill, Mitchell Froom Vocals, Guitar – Bob Dylan Written-By – B. Dylan* 2:49 B1 Ugliest Girl In The World Backing Vocals – Carol Dennis*, Madelyn Quebec Bass – Randy Jackson (2) Drums – Steve Jordan Guitar – Danny Kortchmar Keyboards – Stephen Shelton (2) Vocals, Guitar – Bob Dylan Written-By – B. Dylan*, R. Hunter* 3:30 B2 Silvio Bass – Nathan East Drums – Mike Baird Vocals [Additional] – Bob Weir, Brent Mydland, Carol Dennis*, Jerry Garcia, Madelyn Quebec Vocals, Guitar – Bob Dylan Written-By – B. Dylan*, R. Hunter* 3:05 B3 Ninety Miles An Hour (Down A Dead End Street) Backing Vocals – Bobby King, Willie Green* Keyboards, Vocals – Madelyn Quebec Vocals, Guitar – Bob Dylan Written-By – D. Robertson*, H. Blair* 2:53 B4 Shenandoah Arranged By – B. Dylan* Backing Vocals – Alexandra Brown*, Carol Dennis*, Madelyn Quebec, Peggi Blu Bass – Nathan East Vocals, Guitar, Harmonica – Bob Dylan 3:36 B5 Rank Strangers To Me Bass – Larry Klein Vocals, Guitar – Bob Dylan Written-By – A. Brumley* 2:54 Companies, etc. Manufactured By – Columbia Records Manufactured By – CBS Records Inc. Phonographic Copyright (p) – CBS Records Inc. Copyright (c) – CBS Records Inc. Pressed By – Columbia Records Pressing Plant, Carrollton, GA Mastered At – Precision Lacquer Credits Engineer – Coke Johnson (tracks: A3), Stephen Shelton (2) (tracks: A1, A2, A4 to B5) Engineer [Assistant] – Brian Soucy, Jeff Musel, Jim Preziosi*, Mike Kloster Mixed By – Stephen Shelton (2) Notes Direct Metal Mastering Released with a printed inner credits-sleeve 

USA FIRST PRESSING VINYL ALBUM WITH ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.   INNER SLEEVE HAS MIDDLE BOTTOM SEAM SPLIT.

DISC[S]: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW LIGHT HAIRLINES AND FINGERPRINTS. 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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