JACKSON BROWNE, The Pretender WHITE LABEL PROMO USA EXC- LP Lowell George

$

70

 Jackson Browne ?– The Pretender Label: Asylum Records ?– 7E-1079 Format: Vinyl, LP, Album, Promo, CSM  Country: US Released: 1976 Genre: Rock, Folk, World, & Country Style: Pop Rock Tracklist Hide Credits A1 The Fuse Bass – Leland Sklar Drums – Russell Kunkel* Piano – Craig Doerge Slide Guitar – David Lindley 5:47 A2 Your Bright Baby Blues Acoustic Guitar – Jackson Browne Bass – Chuck Rainey Drums – Jim Gordon Organ – Billy Payne* Piano – Roy Bittan Slide Guitar, Harmony Vocals [Harmony] – Lowell George 6:01 A3 Linda Paloma Guitar [Vijuella], Guitar, Backing Vocals [Background Vocal] – Luis F. Damian* Guitarrón [Guitaron], Violin, Backing Vocals [Background Vocal] – Roberto Gutierrez Harp, Backing Vocals [Background Vocal], Arranged By – Arthur Gerst Other [Millones De Gracias A] – Van Dyke Parks Recorded By – Greg Ladanyi 4:05 A4 Here Come Those Tears Again Bass – Bob Glaub Drums – Jim Gordon Electric Guitar, Acoustic Guitar – Fred Tackett Harmony Vocals [Harmonies] – Bonnie Raitt, Rosemary Butler Organ – Mike Utley* Performer [Random Notes] – Jon Landau Piano – Billy Payne* Soloist [Guitar Solo], Guitar – John Hall* Written-By – Jackson Browne, Nancy Farnsworth 3:35 B1 The Only Child Acoustic Guitar – Fred Tackett Bass – Chuck Rainey Drums – Jeff Porcaro Electric Guitar – Albert Lee Harmony Vocals [Harmonies] – Don Henley, John David Souther Percussion – Gary Coleman Piano – Billy Payne* Violin – David Lindley 3:40 B2 Daddy's Tune Arranged By [Horns Arranged By] – Jim Horn Bass – Leland Sklar Drums – Jeff Porcaro Guitar [Guitar Left] – Fred Tackett Guitar [Guitar Right] – Waddy* Horns – Chuck Finley*, Dick Hyde, Jim Horn, Quitman Dennit* Piano – Craig Doerge Slide Guitar – David Lindley 3:34 B3 Sleep's Dark And Silent Gate Acoustic Guitar, Electric Guitar – Fred Tackett Arranged By [Strings Arranged By] – David Campbell Bass – Leland Sklar Drums – Jeff Porcaro Mixed By – Val Garay Piano – Craig Doerge 2:35 B4 The Pretender Acoustic Guitar, Electric Guitar – Fred Tackett Arranged By [Strings Arranged By] – David Campbell Bass – Leland Sklar Drums – Jeff Porcaro Harmony Vocals [Harmonies] – David Crosby, Graham Nash Piano – Craig Doerge 5:50 Companies, etc. Manufactured By – Elektra/Asylum/Nonesuch Records Phonographic Copyright (p) – Asylum Records Phonographic Copyright (p) – Elektra/Asylum/Nonesuch Records Copyright (c) – Elektra/Asylum/Nonesuch Records Published By – Swallow Turn Music Published By – WB Music Corp. Published By – Open Window Music Published By – Warner-Tamerlane Publishing Corp. Recorded At – Sunset Sound Mixed At – The Sound Factory Mastered At – A&M Mastering Studios Pressed By – Columbia Records Pressing Plant, Santa Maria Credits Art Direction, Design – Gary Burden Liner Notes [Brown And Agile Child] – Pablo Neruda Management – Mark Hammerman Mastered By – Bernie Grundman Mixed By – Greg Ladanyi (tracks: A1 to B2, B4)  Mixed By [Assisted By] – Dennis Kirk (tracks: A1 to B2, B4)  Other [The Road] – Howard Burke  Other [The Sky] – Peter Golden  Other [With Thanks To] – Tony Lane  Photography By [Back Cover Photo] – Jackson Browne Photography By [Front Cover Photo By] – Tom Kelley Studios Producer – Jon Landau Recorded By [Additional Recording] – Mark Howlett Recorded By [Assisted By] – Paul Black Recorded By [Tracks Recorded By] – John Haeny (tracks: A1 to A2, A4 to B4)  Translated By [Brown And Agile Child] – Kenneth Rexroth Written-By – Jackson Browne (tracks: A1 to A3, B1 to B4)  Notes White labels with black text. Includes inner sleeve with lyrics. Recorded at Sunset Sound, Mixed at The Sound Factory with Aphex Aural Exciter, Mastered at A&M. Managed By: for One On One With Thanks To Lowell George and Valerie Carter for their inspiration and Elizabeth Reynolds for everything else. Thanks always to David Geffen. Bonnie Raitt & Lowell George appear courtesy of Warner Bros. Records, Inc. Graham Nash & David Crosby appear courtesy of ABC Records, Atlantic Records & Polydor International GmbH. All songs, published by Swallow Turn Music, WB Music Corp. ASCAP, except "Here Come Those Tears Again" by Swallow Turn Music, WB Music Corp. ASCAP and Open Window Music, Warner-Tamerlane Publishing Corp. BMI [labels] ? 1976 by Asylum Records [sleeve] ?&© 1976 Elektra/Asylum/Nonesuch Records Mfg. by Elektra/Asylum/Nonesuch Records  

USA WHITE LABEL PROMO VINYL ALBUM IN EMBOSSED TEXTURED SLEEVE WITH ORIGINAL PRINTED INNER SLEEVE.

MATRIX:  SIDE A: 1 S 7E-1079 A-1 CSM C3 /  SIDE B: 1 S 7E-1079 B-1 CSM B 7.

SLEEVE: VERY GOOD+, SOME GENERAL SHELF, CORNER, EDGE AND RING WEAR.  REAR PROMO STAMP.  INNER SLEEVE HAS MIDDLE BOTTOM SEAM SPLIT.

DISC: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW LIGHT HAIRLINES AND A COUPLE OF OUTER EDGE 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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