BAND, Rock of Ages: The Band in Concert ROBERT LUDWIG USA 1st press EXC- 2LP

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  The Band ?– Rock Of Ages: The Band In Concert Label: Capitol Records ?– SABB 11045 Format: 2 × Vinyl, LP, Album, Winchester  Country: US Released: 1972 Genre: Rock Style: Folk Rock, Country Rock, Classic Rock TracklistHide Credits A1 Don't Do It Written-By – Holland-Dozier-Holland 4:20 A2 King Harvest (Has Surely Come) Written-By – J.R.Robertson* 3:38 A3 Caledonia Mission Written-By – J.R.Robertson* 3:11 A4 Get Up Jake Written-By – J.R.Robertson* 3:08 A5 W.S. Walcott Medicine Show Written-By – J.R.Robertson* 3:41 B1 Stage Fright Written-By – J.R.Robertson* 4:11 B2 The Night They Drove Old Dixie Down Written-By – J.R.Robertson* 4:44 B3 Across The Great Divide Written-By – J.R.Robertson* 3:19 B4 Wheels On Fire Written-By – B.Dylan*, R.Danko* 3:40 B5 Rag Mama Rag Written-By – J.R.Robertson* 3:45 C1 The Weight Written-By – J.R.Robertson* 5:22 C2 The Shape I'm In Written-By – J.R.Robertson* 3:40 C3 Unfaithful Servant Written-By – J.R.Robertson* 4:19 C4 Life Is A Carnival Written-By – L.Helm*, R.Danko*, J.R.Robertson* 3:52 D1 The Genetic Method Written-By – G.Hudson* 7:29 D2 Chest Fever Written-By – J.R.Robertson* 4:38 D3 (I Don't Want To) Hang Up My Rock And Roll Shoes Written-By – C.Willis* 4:14 Companies, etc. Manufactured By – Capitol Records, Inc. Record Company – Capitol Industries, Inc. Recorded At – Academy Of Music Recorded By – Fedco Audio Labs Mixed At – Bearsville Studios Phonographic Copyright (p) – Capitol Records, Inc. Lacquer Cut At – Sterling Sound Pressed By – Capitol Records Pressing Plant, Winchester Credits Alto Saxophone, Clarinet [E Flat] – J.D. Parron* Arranged By [Horns] – Allen Toussaint Baritone Saxophone, Tuba, Euphonium – Howard Johnson (3) Design – Bob Cato, Squadra Galileo Engineer – Mark Harman, Phil Ramone Lacquer Cut By – RL* Photography By [Cover] – Eric Cato Photography By [Photographers] – Eric Cato, Ernst Haas, Fred Lombardi, John Scheele Producer – The Band Tenor Saxophone [Solos], Soprano Saxophone [Solos], Soloist – Garth Hudson Tenor Saxophone, Soprano Saxophone, English Horn – Joe Farrell Trombone – Earl McIntyre Trumpet, Flugelhorn – Snooky Young Notes Winchester pressing. Recorded at the Academy of Music, New York on the eclipse of the New Year 1971-1972 Live Location Recording / Fedco Mixdown / Bearsville Sound Studio ? 1972 Capitol Records, Inc. Manufactured by Capitol Records, Inc., A Subsidiary of Capitol Industries, Inc. Three-panel gatefold sleeve with gold foil lettering "Automatic" side sequence: disc 1 has sides 1 and 4, disc 2 has sides 2 and 3.  

USA FIRST PRESSING DOUBLE VINYL ALBUM IN TEXTURED/EMBOSSED TRI-FOLD SLEEVE WITH ORIGINAL WHITE INNER SLEEVES.

MATRIX: STERLING RL SABB-1-11045-Z-2  ?? / STERLING RL SABB-2-11045-Z-1 ?? / STERLING RL SABB-3-11045-Z-2 ?? /STERLING RL SABB-4-11045-Z-2 #2 ??.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. QUARTER INCH SEAM SPLIT TOP FRONT RIGHT.  INNER SLEEVE[S] VERY GOOD WITH NO SEAM SPLITS BUT SOME CREASING.

DISC[S]: EXCELLENT MINUS. NO SCRATCHES, JUST 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.

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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