HERBIE HANCOCK, Sunlight WHITE LABEL PROMO USA EXC- LP [I Thought It Was You]

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  Herbie Hancock ?– Sunlight Label: Columbia ?– JC 34907 Format: Vinyl, LP, Album, Promo  Country: US Released: 1978 Genre: Electronic, Jazz Style: Fusion, Electro, Disco TracklistHide Credits A1 I Thought It Was You Bass – Byron Miller Congas – Raul Rekow Drums – Leon "Ndugu" Chancler* Guitar – Wah Wah Watson*, Ray Parker, Jr.* 8:54 A2 Come Running To Me Bass – Paul Jackson (2) Congas – Raul Rekow Drums – James Levi Percussion – Bill Summers Tabla – Baba Duru 8:23 B1 Sunlight Bass – Paul Jackson (2) Drums – James Levi Guitar – Ray Parker, Jr.* Percussion – Bill Summers Soprano Saxophone – Bennie Maupin 7:09 B2 No Means Yes Bass – Paul Jackson (2) Congas – Raul Rekow Drums – Harvey Mason Percussion – Bill Summers 6:18 B3 Good Question Bass – Jaco Pastorius Congas – Raul Rekow Drums – Tony Williams* Percussion – Bill Summers Synthesizer [Additional Synthesizers] – Patrick Gleeson 8:31 Credits Arranged By [String, Brass And Woodwind Arrangements] – Herbie Hancock (tracks: A1 to B1) Brass – Bobby Shew (tracks: A1 to B1), Garnett Brown (tracks: A1 to B1), Maurice Spears (tracks: A1 to B1), Robert O'Bryant, Sr. (tracks: A1 to B1) Design – Tommy Steele (2) Engineer [Assistant, The Automatt] – Cheryl Ward, Chris Minto Engineer [Assistant, The Village Recorder] – Terry Becker Engineer [Different Fur Trading Co.] – Steve Mantoani Engineer [The Automatt] – David Rubinson, Fred Catero Mastered By – Phil Brown Photography By – Kaz Tsurata Producer – David Rubinson & Friends, Inc., Herbie Hancock Strings – Emily Van Valkenburgh (tracks: A1 to B1), Lawrence Granger (tracks: A1 to B1), Linda Wood (2) (tracks: A1 to B1), Nathan Rubin (tracks: A1 to B1), Roy Malan (tracks: A1 to B1), Terry Adams* (tracks: A1 to B1) Vocals, Backing Vocals, Electric Piano [Fender Rhodes], Clavinet [Hohner-d6], Piano, Synthesizer [Oberheim Polyphonic, Oboe 1, Yamaha Cp-30, Arp 2600, Mini-moog, Arp String Ensemble, Yamaha Polyphonic, Arp Odyssey, Poly-moog, Micro-moog, E Mu Polyphonic] – Herbie Hancock Woodwind – David Willard Riddles* (tracks: A1 to B1), Ernest J. Watts* (tracks: A1 to B1), Fred Jackson, Jr.* (tracks: A1 to B1), Jack Nimitz (tracks: A1 to B1)   

USA WHITE LABEL PROMO PRESSING VINYL ALBUM WITH ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.  PROMO STAMP AND TIMING STRIP.  INNER SLEEVE HAS MIDDLE SEAM SPLITS.

DISC[S]: EXCELLENT. NO MARKS OR SCRATCHES. 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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