SATURDAY NIGHT FEVER OST VG++ 1977 RSO 2LP 1ST PRESS BEE GEES WALLY SANTA MARIA

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Vinyl:  VG++ Play Graded. Sounds Excellent!  Super high gloss vinyl.  RSO Labels are Clean and Bright.  This is the Original 1977 RSO 1st Pressing!  RS-2-4001.  This is the definitive audiophile acclaimed pressing, Mastered by Wally Traugott of Capitol Records and Pressed at Columbia's Santa Maria, CA Pressing Plant!   The Definitive Disco Compilation! The Definitive Soundtrack from the Definitive Movie!  Don't forget that besides skyrocketing the Bee Gees into superstardom, this record also presents fine performances from groups such as Tavares, The Trammps and the Lovely Yvonne Elliman who had previously graced the screen and Soundtrack of Jesus Christ Superstar!   Burned into the cultural landscape this has everything you need to get your Disco Party ON!  Crucial.  The biggest selling Soundtrack ever.  allmusic gives it 5 stars!!!    

See Review Below!

In the Dead Wax:  Side 1:  RS-2-4001-AS  CSI   Wally ((Wally Traugott))  MASTERED BY CAPITOL  A2    1S ((Pressed at Columbia's Santa Maria, CA Pressing Plant))

Side 2:  RS-2-4001-BS  CS2   Wally ((Wally Traugott))  MASTERED BY CAPITOL  C30     1S   ((Pressed at Columbia's Santa Maria, CA Pressing Plant))

Side 3:  RS-2-4001-CS CS2   Wally ((Wally Traugott))  MASTERED BY CAPITOL  A1     2S   ((Pressed at Columbia's Santa Maria, CA Pressing Plant))

Side 4:  RS-2-4001-DS  CS1   Wally ((Wally Traugott))  MASTERED BY CAPITOL  A6      2S    ((Pressed at Columbia's Santa Maria, CA Pressing Plant))

Cover: VG++ (see photos) Gatefold.  Includes the photo/credit sleeves.  Nice high gloss on cover. Front and back of cover artwork and text are rich, clear and bright, with some ring wear. Seams, corners and spine are solid and clean, with minimal wear.  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).

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 Bruce Eder  [-]

Every so often, a piece of music comes along that defines a moment in popular culture history: Johann Strauss' operetta Die Fledermaus did this in Vienna in the 1870s; Jerome Kern's Show Boat did it for Broadway musicals of the 1920s, and the Beatles' Sgt. Pepper's Lonely Hearts Club Band album served this purpose for the era of psychedelic music in the 1960s. Saturday Night Fever, although hardly as prodigious an artistic achievement as those precursors, was precisely that kind of musical phenomenon for the second half of the '70s. Ironically, before its release, the disco boom had seemingly run its course, primarily in Europe, and was confined mostly to black culture and the gay underground in America. Saturday Night Fever, as a movie and an album, plus a brace of hit singles off of it, suddenly made disco explode into mainstream, working- and middle-class America with a new immediacy and urgency, increasing its audience ten-fold overnight. The Bee Gees had written "Stayin' Alive" (then called "Saturday Night"), "Night Fever," "How Deep Is Your Love," "If I Can't Have You," and "More Than a Woman" for what would have been the follow-up album to Children of the World, and they might well have enjoyed platinum-record status with that proposed album. Instead, Robert Stigwood asked them in early 1977 to contribute songs to the soundtrack of a movie that he was financing, a low-budget picture called Tribal Rites on a Saturday Night.  

More out of loyalty to him than any belief in the viability of the film, they obliged. The group's involvement even survived the decision by the original director, John Avildsen, that he didn't want their music in the film. Instead, Stigwood fired him and brought in the very talented but much more agreeable John Badham, the movie's title was changed to Saturday Night Fever, the Bee Gees' music stayed, and the result was the biggest-selling soundtrack album in history, a 25-million copy monster whose sales, even as a more expensive double-LP, dwarfed the multi-million units sold of Children of the World and Main Course. Strangely enough, for all of the fixation of the movie and its audience on dancing, the Bee Gees' new songs were weighted equally toward ethereal ballads, which may be one reason for the soundtrack album's appeal -- it delivers what its audience expects, plus a "bonus" in the form of the soaring, lyrical romantic numbers that were, as with most ventures by the Gibb Brothers in this area, virtually irresistible. Despite the presence of other artists, Saturday Night Fever is virtually indispensable as a Bee Gees album, not just for the presence of an array of songs that were hits in their own right -- and which became the de facto soundtrack to a half-decade of pop culture history -- but because it offered the Gibb Brothers as composers as well as artists, with their work recorded by Yvonne Elliman ("If I Can't Have You"), and Tavares ("More Than a Woman"), and it placed their music alongside the work of Kool & the Gang and MFSB. In essence, the layout of the soundtrack was the culmination of everything they'd been moving toward since the Mr. Natural album. Even the presence of David Shire's "Night on Disco Mountain" and "Salsation," and Walter Murphy's "A Fifth of Beethoven," don't hurt, because these set a mood and a surrounding ambience for the Bee Gees' material that makes it work even better.