WILLY WONKA & THE CHOCOLATE FACTORY OST VG '73 MCA-37124 Gene Wilder Veruca Salt

$

25

Vinyl:  VG Play Graded. Sounds Good!  MCA Labels are Clean except both sides have a stamp and side 1 has a tiny paper tear.  This is the 1973 MCA Release.  If you fell in love with the movie, you'll love the Soundtrack.  Serious chocolate binge-ready!  Certainly infectious, hummable tunes and the wonderful and legendary Gene Wilder tries his voice out on a couple numbers along with the Oompa-Loompas and, of course, Veruca Salt!  See the Movie!!!!!!! See Review Below!
In the Dead Wax:  Side 1:  PA 6012A W2  and the glyph for the Pinckneyville, IL Pressing Plant.   Side 2:  PA 6012B W2  and the glyph for the Pinckneyville, IL Pressing Plant.
Cover: VG/VG+ (see photos; name on front cover; tape on both sides of cover) 
Goldmine Standards.  I play test every album that I sell on eBay as I have found you can't rate an LP accurately by just visually inspecting an album.  I wipe the dust off of every cover with clean, unscented baby wipes.  I professionally clean the vinyl.
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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.

AllMusic Review by Bruce Eder  [-]

The movie's producers were trying for a musical along the lines of Mary Poppins or Chitty Chitty Bang Bang, that is, something that could appeal to children but not bore adults, and vice versa, depending upon how one approached it. They got more than they bargained for -- almost too much, in terms of its appeal at the time -- in an immensely tuneful score by Leslie Bricusse with delightful fantasy-laced lyrics by Anthony Newley, wrapped up in a film that appealed to the more worldly perceptions of children, and to parents who recalled that side of themselves. But that wasn't close to all parents at the time, many of whom were so appalled by the nasty edge to the story and screenplay that they failed to grasp the score's beauty or the ultimately satisfying conclusion to the movie; but over time, audiences caught up to the movie, and today it's widely regarded as a classic, and may well be the last successful live-action musical created specifically for cinema and aimed at kids (or, at least, the last not to come from Disney); and the fact that it was so far ahead of its time in 1971 has resulted in its seeming far less dated today than a 1971 movie would normally have a right to. The soundtrack tries to treat the score as it has deserved, giving a nicely, brightly mastered account of such songs as "The Candy Man," "Cheer Up, Charlie," and "I Want It Now/Oompa Loompa," and such jaunty instrumental pieces as "Lucky Charlie" (with its vaguely Irish lilt). The movie also got a superb musical turn out of Jack Albertson ("I've Got a Golden Ticket"), working in the mode of Albert Sharpe. And then there's "Pure Imagination," as sung by Gene Wilder -- to be sure, Julie Budd and others sing it better on any technical level one might care to cite, but there is something beguiling about the non-singer Wilder working his way through those lyrics and the melody. Not everything about the soundtrack is perfect, however -- the score itself is a little short, containing only about 30 minutes of music; the rest of the running time involves linking dialogue and sound effects. Most of what's here is rewarding when the makers stick to music -- the problem is that some of the tracks aren't much more than arrays of sound effects, with "Everlasting Gobstoppers/Oompa Loompa" coming off a lot like outtakes from any early-'70s Pink Floyd album. Other tracks, such as "The Wondrous Boat Ride," just get by, offering mixing music and effects; while others, such as "The Bubble Machine," might've worked better without the sound effects. And one track, "Wonkamobile, Wonkavision/Oompa Loompa," offers so little music that its presence -- apart from the Oompa Loompa song in the last third -- is a complete cheat to extend the running time. But it ends on a musical high point with the gorgeous, wistful finale, and is easily worthwhile for devoted fans of the composers or the movie.