ROLLING STONES Their Satanic Majesties Request VG 1967 RARE MONO 1ST PRESS
$
130
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Description
Vinyl: VG Play Graded. Sounds Very Good! London Labels are Clean and Bright with a name written on side 1 that doesn't obscure any of the label print. This is the SUPER RARE 1967 London MONO 1st Pressing!! NP-2. The Stones' infamous foray into psychedelic music, this one abounds in legend and story and fantasy and drug-fueled musical parlour tricks. Nicky Hopkins makes his first guest appearance on a Stones record here. Full of Brian Jones' exotic instrumentation, this one is especially rewarding as the Mono mix gives an opportunity to hear instruments differently than in the more common stereo mix. Check out especially Citadel, 2000 Man and 2000 Light Years From Home. Headphone-Ready! ...allmusic gives it 4 stars!!!
See Review Below!
In the Dead Wax: Side 1: ARL-8126-1C
Side 2: ARL-8127-1C
Cover: VG+ (see photos) Gatefold. Includes the Rare Smoky Original Inner Sleeve. This is the Super Rare 3D Cover designed by Michael Cooper, who also designed The Beatles Sgt Pepper's Lonely Hearts Club Band, and yes, if you look hard enough you'll find all 4 Beatles hidden in the 3D Cover!!! Nice high gloss on cover. Front and back of cover artwork and text are rich, clear and bright, with a few small tears on the front cover. Seams and spine are solid and clean, with some wear. No splits. No writing.Goldmine Standards. I play grade every record 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. (I also operate a Vinyl Record Cleaning business for your dusty/dirty records--if interested, send me a message).
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All records are packaged securely with the vinyl outside the jacket (to avoid seam split in transit). The vinyl and jacket are sandwiched between two cardboard stiffeners and shipped in a custom cardboard record mailer box.
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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 Richie Unterberger [-]
Without a doubt, no Rolling Stones album -- and, indeed, very few rock albums from any era -- split critical opinion as much as the Rolling Stones' psychedelic outing. Many dismiss the record as sub-Sgt. Pepper posturing; others confess, if only in private, to a fascination with the album's inventive arrangements, which incorporated some African rhythms, Mellotrons, and full orchestration. What's clear is that never before or after did the Stones take so many chances in the studio. (Some critics and fans feel that the record has been unfairly undervalued, partly because purists expect the Stones to constantly champion a blues 'n' raunch worldview.) About half the material is very strong, particularly the glorious "She's a Rainbow," with its beautiful harmonies, piano, and strings; the riff-driven "Citadel"; the hazy, dreamlike "In Another Land," Bill Wyman's debut writing (and singing) credit on a Stones release; and the majestically dark and doomy cosmic rocker "2000 Light Years from Home," with some of the creepiest synthesizer effects (devised by Brian Jones) ever to grace a rock record. The downfall of the album was caused by some weak songwriting on the lesser tracks, particularly the interminable psychedelic jam "Sing This All Together (See What Happens)." It's a much better record than most people give it credit for being, though, with a strong current of creeping uneasiness that undercuts the gaudy psychedelic flourishes. In 1968, the Stones would go back to the basics, and never wander down these paths again, making this all the more of a fascinating anomaly in the group's discography.
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