JACKIE MOORE, Sweet Charlie Babe USA 1st pressing LP FREE SHIPPING

$

25

Jackie Moore – Sweet Charlie Babe  Label: Atlantic – SD 7285 Format: Vinyl, LP, Album, RI Country: US Released: 1973 Genre: Funk / Soul Style: Soul A1 Sweet Charlie Babe Arranged By [Strings & Horns] – Richard Rome* Bass – Bob Babbitt, Ronnie Baker* Drums – Andrew Smith (4), Earl Young Engineer – Carl Paruolo Guitar – Bobby Eli, Norman Harris, Tony Bell Horns, Strings – Don Renaldo & The Philadelphia Strings And Horns* Keyboards – Cotton Kent*, James Sigler Percussion – Larry Washington Producer – The Young Professionals Producer [The Young Professionals] – LeBaron Taylor Written-By, Keyboards, Producer [The Young Professionals] – Bunny Sigler Written-By, Producer [The Young Professionals] – Phil Hurtt 2:38 A2 Clean Up Your Own Yard Bass – Bob Babbitt, Ronnie Baker* Drums – Andrew Smith (4), Earl Young Engineer – Carl Paruolo Guitar – Bobby Eli, Norman Harris Guitar, Arranged By, Conductor, Producer [The Young Professionals] – Tony Bell Horns, Strings – Don Renaldo & The Philadelphia Strings And Horns* Keyboards – Bunny Sigler, Cotton Kent*, James Sigler Percussion – Larry Washington Producer – The Young Professionals Producer [The Young Professionals] – LeBaron Taylor Written-By – Anthony Bell* Written-By, Producer [The Young Professionals] – Phil Hurtt 4:10 A3 If Bass – Bob Babbitt Bass, Arranged By [Strings & Horns], Conductor – Ronnie Baker* Drums – Andrew Smith (4), Earl Young Engineer – Carl Paruolo Guitar – Bobby Eli, Norman Harris Guitar, Producer [The Young Professionals] – Tony Bell Horns, Strings – Don Renaldo & The Philadelphia Strings And Horns* Keyboards – Cotton Kent*, James Sigler Percussion – Larry Washington Producer – The Young Professionals Producer [The Young Professionals] – LeBaron Taylor Written-By, Keyboards – Bunny Sigler Written-By, Producer [The Young Professionals] – Phil Hurtt 3:30 A4 Darling Baby Baritone Saxophone – Hugh Garraway Bass – Vernie Robbins Drums – James Stroud Engineer – Tommy Couch Guitar – Jerry Puckett Keyboards – Wardell Quezergue Producer, Keyboards – Dave Crawford Producer, Percussion – Brad Shapiro Tenor Saxophone – Booker Walker, James Mullen (2) Trombone – Ed Butler (4) Trumpet – Charles Wicker, Phares Corder Written-By – Brian Holland, Lamont Dozier, Eddie Holland* 2:42 A5 Cover Me Bass – Harold Cowart Drums – Ron Zeigler* Engineer – Ron Albert Guitar – Cornell Dupree, Jimmy O'Rourke Horns – Andrew Love, The Memphis Horns, Wayne Jackson Organ – Billy Carter Producer – Brad Shapiro Producer, Piano – Dave Crawford Written-By – Eddie Hinton, Marlin Greene 2:44 B1 Both Ends Against The Middle Bass – Bob Babbitt, Ronnie Baker* Drums – Andrew Smith (4), Earl Young Engineer – Carl Paruolo Guitar – Bobby Eli, Norman Harris Guitar, Arranged By, Conductor, Producer [The Young Professionals] – Tony Bell Horns, Strings – Don Renaldo & The Philadelphia Strings And Horns* Keyboards – Bunny Sigler, Cotton Kent*, James Sigler Percussion – Larry Washington Producer – The Young Professionals Producer [The Young Professionals] – LeBaron Taylor Written-By – Anthony Bell* Written-By, Producer [The Young Professionals] – Phil Hurtt 2:25 B2 Time Bass – Jesse Boyce Drums – Freeman Brown Engineer – Ron Albert Guitar – Dennis Coffee*, Ray Minett Horns – Andrew Love, The Memphis Horns, Wayne Jackson Keyboards – Mac Rebennack, Michael Utley Percussion – Jack Ashford Producer, Percussion – Brad Shapiro Written-By, Producer, Keyboards – Dave Crawford 3:27 B3 Precious, Precious Bass – Harold Cowart Drums – Ron Zeigler* Engineer – Ron Albert Guitar – Cornell Dupree, Jimmy O'Rourke Horns – Andrew Love, The Memphis Horns, Wayne Jackson Organ – Billy Carter Written-By – Jackie Moore Written-By, Producer, Piano – Dave Crawford 3:25 B4 Willpower Bass – Harold Cowart Drums – Ron Zeigler* Engineer – Ron Albert Guitar – Cornell Dupree, Jimmy O'Rourke Horns – Andrew Love, The Memphis Horns, Wayne Jackson Organ – Billy Carter Written-By, Producer, Piano – Dave Crawford 2:54 B5 Something In A Look Bass – Jesse Boyce Drums – Freeman Brown Engineer – Ron Albert Guitar – Dennis Coffee*, Ray Minett Horns – Andrew Love, The Memphis Horns, Wayne Jackson Keyboards – Michael Utley Percussion – Jack Ashford Producer – Brad Shapiro Written-By – Willie Martin Written-By, Producer, Keyboards – Dave Crawford 3:10 Phonographic Copyright ℗ – Atlantic Recording Corporation Copyright © – Atlantic Recording Corporation Phonographic Copyright ℗ – Atlantic Manufactured By – Atlantic Recording Corporation Lacquer Cut At – Frankford/Wayne Recording Labs Pressed By – PRC Recording Company, Richmond, IN Design [Backliner Design] – Helen Pieniek Design [Cover Design] – Loring Eutemey Photography By – John Manning (6) Vocals – Jackie Moore

USA FIRST PRESSING VINYL ALBUM WITH ORIGINAL INNER SLEEVE.

SLEEVE: VERY GOOD ONLY DUE TO EDGE CUT, BOTTOM SEAM SPLIT AND GENERAL SHELF WEAR.   INNER SLEEVE HAS SEAM SPLITS.

DISC: VERY GOOD+. NO SCRATCHES, JUST A FEW LIGHT HAIRLINES 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, the music tends to sound more ‘alive’ and vibrant and you 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.