GRATEFUL DEAD Wake Of The Flood SEALED 1973 GD-01 PROMO GARCIA RICK GRIFFIN
  $   310

 


$ 310 Sold For
Feb 24, 2025 Sold Date
Jun 27, 2023 Start Date
1 Number Of Bids
  USA Country Of Seller
eBay Sold at
 
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Description


Vinyl:  FACTORY SEALED!   NO BARCODE!  LONG OUT OF PRINT!   PROMO!!!  This is the audiophile acclaimed PROMO Pressing of the 1973 Grateful Dead Records GD-01 Release!!  Extremely RARE to find a Sealed copy of this album without the Barcode.   Also extremely hard to find a Promo which tend to be among the first 1,000 or so factory pressings from a new Master disc that is used to make copies of the record.  A landmark album for The Dead, the first without Pigpen, expanding their palette to include a horn section for the first time, as well as some fiddle work courtesy of Vassar Clements!  The Dead would go on to rotate many of these songs into their concerts, many of them Dead Head icons, particularly Eyes Of The World, Stella Blue and Half Step Mississippi Uptown Toodle-oo!  A Crucial album.  Fun to play REALLY LOUD!   allmusic gives it 4 stars!!!    
See Review Below!


Cover: SEALED! (see photos--it's hard to eliminate the glare on Sealed records--let me know if you want any other photos)  Artwork by Legendary San Francisco poster artist, Rick Griffin!  Here is a MINT COPY of Rick Griffin's art!  High resolution Matte Original Pressing.  Has the PROMO Hole in the top right corner.  Front and back of cover artwork and text are rich, clear and bright, essentially flawless. Seams, corners and spine are solid, essentially flawless.  No writing.  No stickers.  No sticker residue.  Spine print is crystal clear.  The record appears straight; when I look down with one eye down all 4 edges there's no big, ominous bow to it that would suggest that it's warped.
I will gladly accept the return of Sealed records as long as they have not been opened (i.e. as long as they are still in the condition I sent them in).  Every record has a "fingerprint" of imperfections in the seal and/or the cover and I separately photograph and keep these details to prevent fraudulently returned items...yep, there are a few rotten apples out there!)  I will not accept a previously sealed record that has been opened, even if the complaint is that the record is warped.  This is why I look down the edge of all 4 sides of the record, to assess for potential bowing.  Look for that in the description of the covers of all my Sealed items. Thanks!  By the way, I've never (knock on wood!) had a buyer complain that they received a warped Sealed record.  :)
Goldmine Standards.   
U.S. Shipping:  FREE domestic shipping!  Includes tracking.  Combine any additional items and they're also shipped FREE!  If you wish to take advantage of my COMBINED SHIPPING deal, simply select your items by clicking on "ADD TO CART" on the main listing page.  Do this for all of your selections and then go to your cart to checkout.  Your combined shipping discount will be computed automatically. 
All records are packaged securely with the vinyl 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.  

Wake of the Flood Review

by Lindsay Planer

 [-]

After satisfying their nine-title/dozen-disc deal with Warner Brothers, the Dead began their own record labels: Grateful Dead Records (for group releases) and Round Records (for solo projects). Wake of the Flood was the first Dead disc issued entirely under the band's supervision -- which also included manufacturing and marketing. Additionally, the personnel had been altered as Ron "Pigpen" McKernan had passed away. The keyboard responsibilities were now in the capable hands of Keith Godchaux -- whose wife Donna Jean Godchaux also provided backing vocals. It had been nearly three years since American Beauty -- their previous and most successful studio album to date -- and, as always, the Dead had been honing the material in concert. A majority of the tracks had been incorporated into their live sets -- some for nearly six months -- prior to entering the recording studio. This gave the band a unique perspective on the material, much of which remained for the next 20-plus years as staples of their concert performances. However, the inspiration and magic of the Grateful Dead's music has always been a challenge to capture in the non-reciprocal confines of a studio. Therefore, while Wake of the Flood was certainly as good -- if not arguably better than -- most of their previous non-live efforts, it falls far short of the incendiary performances the band was giving during this era. There are a few tracks that do tap into some of the Dead's jazzier and exceedingly improvisational nature. "Eyes of the World" contains some brilliant ensemble playing -- although the time limitations inherent in the playback medium result in the track fading out just as the Dead start to really cook. Another highlight is Bob Weir's "Weather Report Suite," which foreshadows the epic proportions that the song would ultimately reach. In later years, the band dropped the opening instrumental "Prelude," as well as "Part One," choosing to pick it up for the extended "Let It Grow" section. The lilting Jerry Garcia ballad "Stella Blue" is another track that works well in this incarnation and remained in the Dead's rotating set list for the remainder of their touring careers.




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