JACKSON BROWNE, Running On Empty WHITE LABEL PROMO USA LP The Load-Out/Stay

$

40

  Jackson Browne ?– Running On Empty Label: Asylum Records ?– 6E-113 Format: Vinyl, LP, Promo  Country: US Released: 1977 Genre: Rock Style: Pop Rock, Classic Rock TracklistHide Credits A1 Running On Empty Written-By – Jackson Browne 5:20 A2 The Road Written-By – Danny O'Keefe 4:50 A3 Rosie Harmony Vocals [Harmony] – Doug Haywood, Joel Bernstein Written-By – Donald Miller (2), Jackson Browne 3:37 A4 You Love The Thunder Written-By – Jackson Browne 3:52 A5 Cocaine Lyrics By [Additional] – Glenn Frey, Jackson Browne Written-By – Rev. Gary Davis 4:55 B1 Shaky Town Harmony Vocals [The Author Sings Harmony], Written-By – Daniel Kortchmar* 3:36 B2 Love Needs A Heart Written-By – Jackson Browne, Lowell George, Valerie Carter 3:28 B3 Nothing But Time Snare, Hihat [Hi-hat], Drums [Cardboard Box With Foot Pedal] – Russell* Written-By – Howard Burke, Jackson Browne 3:05 B4 The Load-Out Written-By – Bryan Garofalo, Jackson Browne 5:38 B5 Stay Featuring [Featuring A Rare Vocal Appearance By], Vocals – David Lindley Written-By – Maurice Williams 3:28 Companies, etc. Phonographic Copyright (p) – Elektra/Asylum Records Copyright (c) – Elektra/Asylum Records Mixed At – The Sound Factory Mastered At – A&M Studios Pressed By – PRC Recording Company, Compton, CA Manufactured By – Elektra/Asylum/Nonesuch Records Published By – Swallow Turn Music Published By – Warner-Tamerlane Publishing Corp. Published By – Road Canon Music Published By – Chandos Music Published By – Kortchmar Music Published By – Naked Snake Music Published By – Vanilla Grits Music Published By – Gianni Music Published By – Cherio Corp. Credits Art Direction, Design – Jimmy Wachtel Bass – Leland Sklar Coordinator [Tour Booked By] – Peter Golden Crew [Bus Driver] – Thomas Gustaferro Crew [House Mixer] – Jim Bornhorst Crew [Monitor Mixers] – Bill "Doc" Gans, Rance Caldwell Crew [Road Crew] – Bill Thompson (8), Ed Kolakowski, Eric Deterding, Jan Alahandro, Michael Deterding Crew [Truck Drivers] – Byron Lisenbee, Jimmy Deluca, Mike "Mountain Boy" Rogers Drums – Russell Kunkel* Engineer – Greg Ladanyi Engineer [Assisted On Hotel And Bus Recordings] – David Hewitt, Mark Salwasser, Norman Mershan* Engineer [Assisted On Stage Recordings] – Russell Schmitt, Tom Walsh (3) Fiddle, Steel Guitar [Lap Steel] – David Lindley Guitar [Guitars] – Danny Kortchmar Keyboards – Craig Doerge Lighting [Lighting Crew] – Alan Owen (2), Jim Waits, Kevin Di Piazza Mastered By – Bernie Grundman Mixed By [Assisted By] – Dennis Kirk, George Ybarra Other [Spasmodic Woman] – Joann Madden Other [The Kid] – Steven Deluca Photography By [Where Noted] – Aaron Rapoport Photography By, Photography By [Tour Photographer] – Joel Bernstein Production Manager – Donald "Buddha" Miller* Production Manager [Tour Manager] – Howard Burke Technician [Technical Advisor] – Chris Cabral Technician [With Thanks To] – Dave Hassinger, Jim Nipar Vocals [Singers] – Doug Haywood, Rosemary Butler Vocals [Uncredited], Guitar, Piano, Producer – Jackson Browne Notes Promotional copy with large round NFS sticker.  Includes custom inner lyric sleeve and 8 page booklet.  A1, B4: Recorded live on stage at Merriweather Post Pavilion, Columbia, Maryland — 8/27/77.  A2: Recorded in room 301 at the Cross Keys Inn, Columbia, Maryland — 8/27/77 (thanks to Pete Wiley); and on stage at the Garden State Arts Center, Holmdale, New Jersey — 9/7/77. For Judy.  A3: Recorded backstage in the big rehearsal room at Saratoga Performing Arts Center, Sarasota Springs, New York — 9/1/77.  A4: Recorded live on stage at the Garden State Arts Center, Holmdale, New Jersey — 9/6/77.  A5: Recorded in room 124 at the Holiday Inn, Edwardsville, Illinois — 8/17/77.  Any resemblance to persons living or nearly dead...  B1: Recorded in room 124 at the Holiday Inn, Edwardsville, Illinois — 8/18/77.  The author sings harmony.  B2: Recorded live at the Universal Ampitheatre, Universal City, California — 9/17/77.  B3: Recorded on a bus (a Continental Silver Eagle) somewhere in New Jersey — 9/8/77.  B5: The Zodiacs don't mind  Assistance on stage recordings using Showco's 24-track Studer.  Assistance on hotel & bus recordings using N.Y.C. Record Plant's remote truck.  Mixed at Sound Factory, L. A., using the Aphex.  Mastered at A&M.  Lights & Sound by Showco.  Piano supplied by Sound Productions.  Tour booked for the Wm. Morris Agency.  Many thanks to Elizabeth Reynolds.  Thanks always to David Geffen.  Craig Doerge, Russell Kunkel, and Danny Kortchmar appear courtesy of The Section and Capitol Records  Danny Kortchmar also appears courtesy of Dark Horse Records  ? & © 1977 Elektra/Asylum Records • A division of Warner Communications Inc.  A1, A3, A4, B3: © Copyright 1977 Swallow Turn Music ASCAP.  All rights administered by WB Music Corp.  A2: © Copyright 1971 Warner-Tamerlane Publishing Corp. and Road Canon Music BMI.  All rights administered by Warner-Tamerlane Publishing Corp.  A5: © 1968 Chandos Music ASCAP  B1: © 1977 Kortchmar Music ASCAP  B2: © 1977 Swallow Turn Music ASCAP, Naked Snake Music BMI & Vanilla Grits Music BMI.  All rights on behalf of Swallow Turn Music administered by WB Music Corp.  B4: © 1977 Swallow Turn Music ASCAP & Gianni Music BMI.  All rights administered by WB Music Corp. on behalf of Swallow Turn Music.  All rights administered by Warner-Tamerlane Publishing Corp. on behalf of Gianni Music.  B5: © 1960 Cherio Corp. BMI  

USA WHITE LABEL PROMO PRESSING VINYL ALBUM WITH BOOKLET AND ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD, SOME SHELF, CORNER, EDGE AND RING WEAR.  PROMO STICKER. BOOKLET VERY GOOD+.  INNER SLEEVE HAS SEAM SPLITS.

DISC[S]: VERY GOOD+. NO SCRATCHES, BUT DIS A BIT DUSTY WITH A FEW FINGERPRINTS AND 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.

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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