ELTON JOHN, Madman Across The Water USA 1st press EXC- LP [Tiny Dancer/Levon]

$

29

Elton John ?– Madman Across The Water Label: UNI Records ?– 93120 Format: Vinyl, LP, Album, Stereo, Gatefold  Country: US Released: 1971 Genre: Rock Style: Pop Rock Tracklist Hide Credits A1 Tiny Dancer Acoustic Guitar – Davey Johnstone Backing Vocals – Barry St. John, Dee Murray, Lesley Duncan, Liza Strike, Nigel Olsson, Roger Cook, Sue & Sunny, Terry Steele, Tony Burrows Bass – David Glover Drums – Roger Pope Electric Guitar – Caleb Quaye Piano – Elton John Steel Guitar – BJ Cole 6:12 A2 Levon Acoustic Guitar – Les Thatcher Backing Vocals – Barry St. John, Lesley Duncan, Liza Strike, Sue & Sunny Bass – Brian Odgers Drums – Barry Morgan Electric Guitar – Caleb Quaye Harmonium – Brian Dee Piano – Elton John 5:37 A3 Razor Face Accordion – Jack Emblow Bass – David Glover Drums – Roger Pope Electric Guitar – Caleb Quaye Organ – Rick Wakeman Piano – Elton John 4:40 A4 Madman Across The Water Acoustic Guitar – Davey Johnstone Drums – Terry Cox Electric Bass – Herbie Flowers Electric Guitar – Chris Spedding Organ – Rick Wakeman Percussion – Ray Cooper Piano – Elton John Synthesizer [A.R.P.] – Diana Lewis 5:22 B1 Indian Sunset Acoustic Bass – Chris Laurence Choir – Cantores In Ecclesia Choir Directed By [Choir] – Robert Kirby Drums – Terry Cox Electric Bass – Herbie Flowers Piano – Elton John 6:45 B2 Holiday Inn Acoustic Guitar – Caleb Quaye Backing Vocals – Barry St. John, Dee Murray, Lesley Duncan, Liza Strike, Nigel Olsson, Roger Cook, Sue & Sunny, Terry Steele, Tony Burrows Bass – David Glover Drums – Roger Pope Mandolin, Sitar – Davey Johnstone Piano – Elton John 4:22 B3 Rotten Peaches Acoustic Guitar – Davey Johnstone Backing Vocals – Barry St. John, Dee Murray, Lesley Duncan, Liza Strike, Nigel Olsson, Roger Cook, Sue & Sunny, Terry Steele, Tony Burrows Drums – Terry Cox Electric Bass – Herbie Flowers Organ – Rick Wakeman Percussion – Ray Cooper Piano – Elton John Slide Guitar – Chris Spedding Synthesizer [A.R.P.] – Diana Lewis 5:14 B4 All The Nasties Bass – Dee Murray Choir – Cantores In Ecclesia Choir Directed By [Choir] – Robert Kirby Drums – Nigel Olsson Piano – Elton John Tambourine – Ray Cooper 5:08 B5 Goodbye Piano – Elton John 1:48 Companies, etc. Published By – Dick James Music, Inc. Copyright (c) – Dick James Music Ltd. Copyright (c) – MCA Records, Inc. Recorded At – Trident Studios Credits Arranged By, Conductor – Paul Buckmaster Composed By – Elton John-Bernie Taupin*  Coordinator – Steve Brown Design [Back cover embroidery] – Gill (18) Design [Front cover embroidery] – Yanis (3) Engineer – Robin Geoffrey Cable Engineer [Re-mix] – Ken Scott Photography By [Booklet Cover], Illustration, Art Direction, Design [Sleeve] –David Larkham Photography By [Booklet] – Bob Gruen Photography By [Inside jacket photohraph] – Ed Caraeff Producer – Gus Dudgeon  

USA FIRST PRESSING VINYL ALBUM IN TEXTURED GATEFOLD SLEEVE WITH BOOKLET AND ORIGINAL COMPANY INNER SLEEVE.

MATRIX:  SIDE A: 93120 A W-6 2 111 /  SIDE B: 93120 B W-4 2 VI.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. BOOKLET EXCELLENT MINUS.  INNER SLEEVE HAS MIDDLE BOTTOM SEAM SPLIT AND TOP NICKS.

DISC: EXCELLENT MINUS. NO SCRATCHES, BUT A FEW PLAY SCUFFS AND 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.  

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