STAN GETZ / JOÃO GILBERTO featuring AC JOBIM USA 1st RE-1 LP Girl From Ipanema

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47

 Stan Getz / João Gilberto Featuring Antonio Carlos Jobim ?– Getz / Gilberto Label: Verve Records ?– V6-8545, Verve Records ?– V6/8545, Verve Records ?– V/V6-8545 Format: Vinyl, LP, Album, Stereo  Country: US Released: 1964 Genre: Jazz, Latin Style: Bossa Nova, Latin Jazz Tracklist Hide Credits A1 The Girl From Ipanema Vocals – Astrud Gilberto Written-By – Jobim*, Gimbel*, deMoraes* 5:15 A2 Doralice Written-By – Almeida*, Caymmi* 2:45 A3 P'ra Machuchar Meu Coracao Written-By – Ary Barroso 5:07 A4 Desafinado Written-By – Jobim*, Mendonca* 4:05 B1 Corcovado Vocals [Introduction] – Astrud Gilberto Written-By – Jobim*, Lees* 4:15 B2 So Danco Samba Written-By – Jobim*, deMoraes* 3:30 B3 O Grande Amor Written-By – Jobim*, deMoraes* 5:25 B4 Vivo Sonhando Written-By – Jobim* 2:52 Companies, etc. Record Company – Metro-Goldwyn-Mayer, Inc. Copyright (c) – Metro-Goldwyn-Mayer, Inc. Published By – Duchess Music Corp. Published By – Matador Music Published By – Hollis Music, Inc. Published By – Ludlow Music, Inc. Published By – Corcovado Music Corp. Credits Drums – Milton Banana Engineer [Director Of Engineering] – Val Valentin Guitar, Vocals – João Gilberto Liner Notes – Gene Lees, João Gilberto, Stan Getz Painting [Cover] – Olga Albizu Photography By – David Drew Zingg Piano – Antonio Carlos Jobim Producer – Creed Taylor Recorded By [Recording Engineer] – Phil Ramone Tenor Saxophone – Stan Getz Notes A3 is listed on label as Para Machucar Meu Coracao (To Hurt My Heart) B2 is listed on label as So Danco Samba (Jazz Samba) from the film "Copacabana Palace" Label variation: Deep groove. catalog number on label reads as V6/8545 and not V6-8545 and is wider than the word above STEREO. The text is generally smaller than other version on Discogs and there are no hyphens in between the song titles and durations. There are no parenthesis around the BMI, and A2 says ASCAP instead of BMI. Gatefold cover. Label reads: MGM RECORDS - A DIVISION OF METRO-GOLDWYN-MAYER, INC. - Made in U.S.A. Recorded March 18 & 19, 1963 in New York City. 

USA STEREO DEEP GROOVE FIRST PRESSING VINYL ALBUM IN GATEFOLD SLEEVE WITH GENERIC WHITE INNER SLEEVE.  THIS RE-1 PRESSING HAS ASTRUD GILBERTO'S VOCAL IN RIGHT SPEAKER.  The correct placement (on the master tape) is for Astrud to be on the left and the drums on the right. When Ami Hadani cut the ORIGINAL stereo LP master at Radio Recorders in 1963, the channels got reversed somehow and that's how engineers have been mostly doing it ever since for some reason. 

MATRIX:  SIDE A: F.G. V6-8545 SIDE-1 63-VGS-560 RE-1 /  SIDE B: F.G. V6-8545 SIDE-2 63-VGS-561 RE-1.

SLEEVE: VERY GOOD, SOME SHELF, CORNER, EDGE AND RING WEAR.  TOP SEAM SPLITS STARTING. INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISC: VISUALLY EXCELLENT MINUS WITH NO SCRATCHES AND JUST A FEW LIGHT HAIRLINES. AURALLY THIS DISC PLAYS VG+ AS PER USUAL FOR MGM PRESSED VERVE VINYL, IT HAS GREAT AUDIO, LOUD, A WIDE SOUNDSCAPE, BUT THE USUAL SLIGHTLY NOISY VINYL COMPOUND IN PLACES. 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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