DIRE STRAITS, Brothers In Arms ROBERT LUDWIG Masterdisk USA EXCELLENT- LP

$

25

Dire Straits ?– Brothers In Arms Label: Warner Bros. Records ?– 9 25264-1, Warner Bros. Records ?– 1-25264 Format: Vinyl, LP, Album, Club Edition, RCA Music Service  Country: US Released: 1985 Genre: Rock Style: Classic Rock Tracklist Hide Credits A1 So Far Away 3:59 A2 Money For Nothing Vocals [Uncredited] – Sting 7:04 A3 Walk Of Life 4:07 A4 Your Latest Trick 4:46 A5 Why Worry 5:22 B1 Ride Across The River 6:57 B2 The Man's Too Strong 4:36 B3 One World 3:36 B4 Brothers In Arms 6:56 Companies, etc. Licensed To – RCA Music Service – R-114734 Distributed By – RCA Music Service – R-114734 Manufactured By – RCA Music Service – R-114734 Pressed By – Specialty Records Corporation Published By – Chariscourt Ltd. Published By – Almo Music Corp. Recorded At – Air Studios Engineered At – Power Station Mixed At – Power Station Mixed At – Power Station Mastered At – The Sound Clinic Mastered At – Allied Record Company – B-21167 Mastered At – Allied Record Company – B-21168 Mastered At – Sheffield Lab Matrix – ? 9536 Lacquer Cut At – Masterdisk Credits Bass, Vocals – John Illsley Drums – Omar Hakim, Terry Williams (3) Engineer – Neil Dorfsman Engineer [Assistant, Air Montserrat] – Steve Jackson (3) Engineer [Assistant, Power Station] – Bruce Lampcov, David Greenberg*  Guitar, Vocals – Mark Knopfler Keyboards – Alan Clark Keyboards, Vocals – Guy Fletcher Lacquer Cut By – RL*  Mastered By [Masterdisk] – Bob Ludwig Mastered By [Sound Clinic] – John Dent Painting – Thomas Steyer Photography By – Deborah Feingold Producer – Mark Knopfler, Neil Dorfsman Sleeve – Sutton Cooper Written-By – Mark Knopfler Notes This version used stampers with work done by Allied Record Company, Sheffield Lab Matrix and Masterdisk, and eventually pressed at Specialty Records Corporation as confirmed by "E A S T" embossed on side B label inside inner press ring. First label number on spine and liner. Second label number on labels. Sting is not credited with writing credits on "Money For Nothing". Later pressing credit song to Knopfler/Sting. Mfd. by RCA Music Service under License 6550 East 30th Street Indianapolis, Indiana 46219 R-114734  

USA RCA RECORD CLUB PRESSING CUT FROM THE EXACT SAME ROBERT LUDWIG MASTERDISK STAMPERS AS THE FIRST PRESSING, WITH ORIGINAL PRINTED INNER SLEEVE.

As per the first pressing, there is no Sting co-writing credit for 'Money For Nothing'.

MATRIX:  SIDE A: 1?-?2?5?2?6?4?-?A?-? SH11 MASTERDISK RL Q B-21167-SH11  SLM ?9536 1?-?3? R-114734-A SP 0-4  SM1-4 SH-SP /  SIDE B: 1?-?2?5?2?6?4?-?B?-? SH 5 MASTERDISK RL Q B-21168-SH5 SLM ?9536-X 1-7 SP 0-4 SM-3 R-114734-B SH-SP.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.   INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISC: EXCELLENT MINUS. NO MARKS OR SCRATCHES, JUST A COUPLE OF FINGERPRINTS. 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.