THREE DOG NIGHT, Hard Labor WITHDRAWN SLEEVE USA 1st pressing LP FREE SHIPPING

$

50

Three Dog Night – Hard Labor  Label: ABC Dunhill – DSD 50168 Format: Vinyl, LP, Album, Withdrawn sleeve, Terre Haute Pressing, Gatefold Country: US Released: 1974 Genre: Rock, Funk / Soul, Pop Style: Pop Rock, Soul A1 Prelude 1:00 A2 Sure As I'm Sittin' Here Written-By – John Hiatt 4:45 A3 Anytime Babe Written-By – Larry Weiss 3:07 A4 Put Out The Light Written-By – Daniel Moore 3:06 A5 Sitting In Limbo Written-By – Guilly Bright, Jimmy Cliff 5:03 B1 I'd Be So Happy Written-By – Skip Prokop 4:43 B2 Play Something Sweet (Brickyard Blues) Written-By – Allen Toussaint 4:47 B3 On The Way Back Home Written-By – Daniel Moore 4:19 B4 The Show Must Go On Written-By – Dave Courtney*, Leo Sayer 4:23 Produced For – Three Dog Night, Inc. Phonographic Copyright ℗ – ABC Records, Inc. Copyright © – ABC Records, Inc. Recorded At – Record Plant, Sausalito Mixed At – Record Plant, N.Y.C. Mastered At – Master Cutting Room Lacquer Cut At – Master Cutting Room Pressed By – Columbia Records Pressing Plant, Terre Haute Published By – Tree Publishing Co., Inc. Published By – Famous Music Corporation Published By – Larry Weiss Music Ltd. Published By – ABC/Dunhill Music, Inc. Published By – Speed Music (2) Published By – Irving Music, Inc. Published By – C.A.M.-U.S.A., Inc. Published By – Warner-Tamerlane Publishing Corp. Published By – Marsaint Music, Inc. Published By – Chrysalis Music Corp. Arranged By [Arrangements With A Little Help From] – Teeth (4) Arranged By [Arrangements] – Three Dog Night Art Direction, Photography By – Ed Caraeff Design – David Larkham Engineer – Dennis Ferrante, Jay Messina, John Stronach, Roy Cicala Engineer [Assistant Engineers] – Corky Stasiak, Kurt Kinzel Engineer [Mastered] – Greg Calbi, Tom Rabstenek Engineer [Remix Engineers] – Jay Messina, Roy Cicala Musician, Bass – Jack Ryland Musician, Chamberlin, Synthesizer [Arp], Keyboards [Added Keyboards] – Skip Konte Musician, Drums, Percussion – Floyd Sneed Musician, Guitar, Banjo – Michael Allsup* Musician, Keyboards – Jimmy Greenspoon Producer [Production], Engineer [Sound] – Jimmy Ienner Technician [Special All Around Assistant And Constant Companion] – Jimmy "Shoes" Iovine* Vocals – Chuck Negron, Cory Wells (2), Danny Hutton 1st issue sleeve depicting of the birth of a record album, which was deemed controversial and quickly reworked with a huge bandage covering the "birth". The gatefold cover with die-cut inner sleeve also included a perforated attached "birth record sheet" of the album. Columbia Records Pressing Plant, Terre Haute, pressing denoted by "T" etch in runouts. ℗ © 1974 ABC Records, Inc. Printed In U.S.A. Recorded at Record Plant in Sausalito. Mixed at Record Plant in New York City. Mastered at The Master Cutting Room in New York City. Track publishers: A1: P.D. A2: Tree Publishing Co., Inc. (BMI) A3: Famous Music Corp./Larry Weiss Music Ltd. (ASCAP) A4, B3, ABC/Dunhill Music, Inc./Speed Music (BMI) A5: Irving Music, Inc. (BMI) B1: C.A.M.-U.S.A., Inc. (BMI) B2: Warner-Tamerlane Publ. Corp./Marsaint Music, Inc. (BMI) B4: Chrysalis Music Corp. (ASCAP) Rights Society: BMI Rights Society: ASCAP Matrix / Runout (Label side A): DSD-50168-A Matrix / Runout (Label side B): DSD-50168-B Matrix / Runout (Side A runout): DSD-50168-A-2 MCR B T1 Matrix / Runout (Side B runout): DSD 50168-B-3 MCR T1

USA FIRST PRESSING VINYL ALBUM IN WITHDRAWN GATEFOLD BIRTHING SLEEVE WITH ORIGINAL INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. SMALL CORNER DRILL HOLE, AND PERFORATED BIRTH PART HAS COME AWAY.  INNER SLEEVE VERY GOOD+.

DISC: VERY GOOD+. NO SCRATCHES, BUT A FEW LIGHT HAIRLINES. 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, the music tends to sound more ‘alive’ and vibrant and you 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.