THE BEATLES Abbey Road MINT IN SHRINK RARE LABEL ERROR Something

$

65

Vinyl:  MINT!  TOP COPY!  Play Graded.  Has some sleeve marks that don't affect the sound quality.  Apple/Capitol photo labels are clean and bright.  This is the 2006 Capitol Reissue of the 1969 Release!    
It's fun to compare how John and Paul wrote very different songs for the band.  Certainly one of the Finest Rock Albums of All Time, this album is Legendary among the Beatles' canon, not the least because in hindsight, we see this as their Swan Song, when they were drifting apart.  In fact, this is more of the breakup album than the chaotic Let It Be record, at least chronologically, and yet this album sounds harmonious, effortless, the nearly Perfect Beatles record, with their production values at a virtual Zenith.   This is among the top 10 of Rolling Stone's 500 Greatest Records of All Time!!...and why not?  It starts with Come Together, which is followed by Something, Harrison's most celebrated Beatles song (and on side 2 leading off with Here Comes The Sun, which is more popular now than ever before!)   We also have the sublime Because, the overlooked Sun King, Lennon's singular I Want You...And then there's the amazing Suite on Side 2.    Essential.  Every home should have Abbey Road in it...allmusic gives it 5 stars!!!

See Review Below!
In the Dead Wax:  matrices, etched.  Also, on both sides:  MASTERED BY CAPITOL  Complete dead wax information cheerfully given upon request. 

Cover: MINT!  TOP COPY!  IN SHRINK!  (see photos)  This pressing has the RARE Label Errors with three songs on Side 1 missing an apostrophe (e.g. Octopus s Garden).  Also on this pressing, the cover has had the metal street plate restored whereas previous releases had it airbrushed out.   One of their most recognizable and emblematic covers, spawning 1000 emulators, the walk across the street from Abbey Road is virtually and symbolically one of the best trips of the 1960s...of course there's no need for a title or a band name on the cover...Have fun with the symbolism, intended or imagined that fills the cover, front and back...  Front and back of cover artwork and text are rich, clear and bright, essentially flawless.  Seams and corners are solid and clean, essentially flawless.  No writing.  No stickers.  No splits.  Spine print is crystal clear. 
Goldmine Standards.   I play grade every record that I sell on eBay as I have found you can't rate a record accurately by just visually inspecting it.  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.  The record is 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

Abbey Road Review by Stephen Thomas Erlewine

Conventional wisdom holds that the Beatles intended Abbey Road as a grand farewell, a suspicion seemingly confirmed by the elegiac note Paul McCartney strikes at the conclusion of its closing suite. It's hard not to interpret "And in the end/the love you take/is equal to the love you make" as a summation not only of Abbey Road but perhaps of the group's entire career, a lovely final sentiment. The truth is perhaps a bit messier than this. The Beatles had tentative plans to move forward after the September 1969 release of Abbey Road, plans that quickly fell apart at the dawn of the new decade, and while the existence of that goal calls into question the intentionality of the album as a finale, it changes not a thing about what a remarkable goodbye the record is. In many ways, Abbey Road stands apart from the rest of the Beatles' catalog, an album that gains considerable strength from its lush, enveloping production -- a recording so luxuriant, it glosses over aesthetic differences between the group's main three songwriters and ties together a series of disconnected unfinished songs into a complete suite. Where Sgt. Pepper pioneered such mind-bending aural techniques, Abbey Road truly seized the possibilities of the studio and, in doing so, pointed the way forward to the album rock era of the 1970s. Many of the studio tricks arrive during that brilliant suite of songs, a sequence that lasts nearly a full side of an album. Here, McCartney's playful eccentricity juts against John Lennon's curdled cynicism, while the band thrills in sudden changes of mood and plays plenty of guitar, culminating in McCartney, Lennon, and George Harrison trading solos on "The End." The depth of sonic detail within "You Never Give Me Your Money" and "She Came in Through the Window" provided ideas for entire subgenres of pop in the '70s, but Abbey Road also contains a handful of the most enduring Beatles songs, each adding a new emotional maturity to their catalog. The subdued boogie of Lennon's "Come Together" contains a sensuality previously unheard in the Beatles -- it's matched by "Because," which may be the best showcase for the group's harmonies -- Harrison's "Something" is a love ballad of unusual sensitivity, and his "Here Comes the Sun" is incandescent, perhaps his purest expression of joy. As good as these individual moments are, what makes Abbey Road transcendent is how the album is so much greater than the sum of its parts. While a single song or segment can be dazzling, having a succession of marvelous, occasionally intertwined moments is not only a marvel but indeed a summation of everything that made the Beatles great.