SOFT MACHINE, Third White Label Promo with unused timing strip USA EXC- 2LP

$

97

Soft Machine ?– Third Label: Columbia ?– G 30339 Format: 2 × Vinyl, LP, Album, Promo  Country: US Released: Jun 1970 Genre: Jazz, Rock Style: Jazz-Rock, Psychedelic Rock, Prog Rock Tracklist Hide Credits A1 Facelift I Written-By – Hugh Hopper 2:42 A2 Facelift II Written-By – Hugh Hopper 2:08 A3 Facelift III Written-By – Hugh Hopper 5:30 A4 Facelift IV Written-By – Hugh Hopper 3:30 A5 Facelift V Written-By – Hugh Hopper 4:42 B1 Slightly All The Time I Written-By – Mike Ratledge 4:45 B2 Slightly All The Time II Written-By – Mike Ratledge 3:13 B3 Slightly All The Time III Written-By – Mike Ratledge 5:15 B4 Slightly All The Time IV Written-By – Mike Ratledge 2:50 B5 Slightly All The Time V Written-By – Mike Ratledge 2:11 C1 Moon In June I Written-By – Robert Wyatt 4:36 C2 Moon In June II Written-By – Robert Wyatt 3:27 C3 Moon In June III Written-By – Robert Wyatt 2:10 C4 Moon In June IV Written-By – Robert Wyatt 2:55 C5 Moon In June V Written-By – Robert Wyatt 5:55 D1 Out-Bloody-Rageous I Written-By – Mike Ratledge 5:22 D2 Out-Bloody-Rageous II Written-By – Mike Ratledge 5:10 D3 Out-Bloody-Rageous III Written-By – Mike Ratledge 3:48 D4 Out-Bloody-Rageous IV Written-By – Mike Ratledge 2:07 D5 Out-Bloody-Rageous V Written-By – Mike Ratledge 3:27 Companies, etc. Pressed By – Columbia Records Pressing Plant, Pitman Mastered At – Customatrix Credits Artwork By – John Hays  Bass – Hugh Hopper Drums, Vocals – Robert Wyatt Engineer – Andy Knight (tracks: B to D), Bob Woolford (tracks: A)  Flute, Clarinet [Bass] – Jimmy Hastings Flute, Saxophone [Soprano] – Lyn Dobson Organ, Piano – Mike Ratledge Photography – Jurgen D. Ensthaler  Producer – Soft Machine Saxophone [Alto], Saxello – Elton Dean Trombone – Nick Evans Violin – Rab Spall Notes Gatefold sleeve. "Facelift" was recorded live at Fairfield Hall, Croydon, January 4th, 1970 and at Mothers Club, Birmingham, January 11th, 1970. Track times taken from label and promo card insert.  Release is banded for radio play. Catalog numbers: G 30339 on front cover and spine G 30339 and C 30340 on labels of first LP G 30339 and C 30341 on labels of second LP Barcode and Other Identifiers Matrix / Runout (Side A label): AL 30528 Matrix / Runout (Side B label): BL 30528 Matrix / Runout (Side C label): AL 30529 Matrix / Runout (Side D label): BL 30529 Matrix / Runout (Side A runout, stamped): o P AL 30528-1A p Matrix / Runout (Side B runout, stamped): o P BL 30528-1A p Matrix / Runout (Side C runout, stamped): o P AL 30529-1A p Matrix / Runout (Side D runout, stamped): o P BL 30529-1A p  

USA WHITE LABEL PROMO DOUBLE VINYL ALBUM IN GATEFOLD SLEEVE WITH ORIGINAL WHITE INNER SLEEVES AND UNUSED TIMING STRIP WITH STICKY BACK STILL ON, WHICH IS NICE TO HAVE BUT DOESN'T RUIN THE SLEEVE IN THIS CASE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.   INNER SLEEVES VERY GOOD+ WITH NO SEAM SPLITS.

DISCS: EXCELLENT. NO MARKS OR SCRATCHES. THEY DO NOT LOOK PLAYED.  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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