JENNIFER WARNES, Famous Blue Raincoat (Leonard Cohen) USA 1st pressing EXC- LP

$

30

Jennifer Warnes ?– Famous Blue Raincoat (The Songs Of Leonard Cohen) Label: Cypress Records ?– 661 111-1 Format: Vinyl, LP, Album, Carrollton Pressing  Country: US Released: 1986 Genre: Electronic, Rock, Pop, Folk, World, & Country Style: Vocal, Ballad, Blues Rock, Synth-pop Tracklist Hide Credits A1 First We Take Manhattan Bass – Roscoe Beck Drums – Vinnie Colaiuta Guitar – Robben Ford, Roscoe Beck, Stevie Ray Vaughn* Harmony Vocals – Jennifer Warnes Percussion – Lenny Castro Programmed By [Synthesizer] – Gary Chang Synthesizer – Gary Chang, Russell Ferrante 3:44 A2 Bird On A Wire Backing Vocals – Jennifer Warnes, Kal David, Willie Greene Jr. Bass – Jorge Calderon* Drums – Vinnie Colaiuta Guitar – Robben Ford Percussion – Lenny Castro Saxophone – Reverend" Dave Boruff* Shaker – Larry Brown Synthesizer – Bill Ginn, William "Smitty" Smith* 4:42 A3 Famous Blue Raincoat Arranged By [Strings] – Bill Ginn Cello – Larry Corbett, Suzie Katayama Conductor [Strings] – Bill Ginn Double Bass [String Bass] – Roscoe Beck Piano – Bill Ginn Tenor Saxophone – Paul Ostermayer Viola – Novi Novog Violin – Barbara Porter* Violin [First] – Sid Page 5:33 A4 Joan Of Arc Bass – Roscoe Beck Drums – Vinnie Colaiuta Guitar – Roscoe Beck Piano – Bill Ginn Synthesizer – Bill Ginn, Russell Ferrante Synthesizer [Additional] – Roscoe Beck Tambourine – Larry Brown Vocals – Jennifer Warnes, Leonard Cohen Vocals [Choir] – Greg Prestopino, Jennifer Warnes 7:47 B1 Ain't No Cure For Love Arranged By [Synthesizers] – Bill Payne Drums – Vinnie Colaiuta Guitar – Michael Landau Harmony Vocals – Jennifer Warnes Percussion – Steve Forman Synthesizer – Bill Payne 3:19 B2 Coming Back To You Bass – Jorge Calderon* Drums – Vinnie Colaiuta Guitar – Fred Tackett Lap Steel Guitar – David Lindley Organ [Hammond] – William "Smitty" Smith* Piano – Bill Ginn Synthesizer – Russell Ferrante Vocals – Bobby King, Jennifer Warnes, Terry Evans, Willie Greene Jr. 3:42 B3 Song Of Bernadette Arranged By [Strings] – Jeremy Lubbock Bass – Richard Feves Cello – Larry Corbett Conductor [Strings] – Bill Ginn Double Bass [String Bass] – Roscoe Beck Piano – Bill Ginn Viola – Novi Novog Violin – Barbara Porter* Violin [First] – Sid Page 3:58 B4 A Singer Must Die Arranged By – Bill Ginn, Van Dyke Parks Conductor – Bill Ginn Percussion – Bill Ginn Vocals – Arnold McCuller, David Lasley, George Ball, Greg Prestopino, Jennifer Warnes, Josef Powell, Kal David, Sharon Robinson, Tim Stone (2), Willie Greene Jr. 4:50 B5 Came So Far For Beauty Accordion – Van Dyke Parks Arranged By [Synthesizers] – Gary Chang Electric Piano – Bill Ginn Fretless Bass – Roscoe Beck Harmony Vocals – Jennifer Warnes Programmed By [Synthesizers] – Gary Chang Synthesizer – Gary Chang, Van Dyke Parks 3:37 Companies, etc. Distributed By – PolyGram Records, Inc. Pressed By – Columbia Records Pressing Plant, Carrollton, GA Mastered At – Bernie Grundman Mastering Phonographic Copyright (p) – Cypress Records Copyright (c) – Cypress Records Recorded At – The Complex Recorded At – Amigo Studios Recorded At – Hollywood Sound Recorders Recorded At – The Enterprise Recorded At – Mama Jo's Recorded At – Salty Dog Recording Recorded At – Record Plant, Los Angeles Credits Art Direction – Jennifer Warnes, Leslie Wintner Coordinator [Project] – Lori Nafshun Cover – Harry Bowers Design – Leslie Wintner Engineer [Assistant] – Clyve Taylor*, Dan Reed (5), Duane Seykora, Garth Richardson, Jeff Park, Joel Stoner, Ken Fowler, Nyya Lark, Russell Bracher, Sharon Rice (2), Steven Bradley Ford*, Terry Dunavan Engineer [Chief] – Bill Youdelman*  Lyrics By – Leonard Cohen (tracks: B3)  Mixed By – Frank Wolf, George Massenburg (tracks: A2, A3), Henry Lewy(tracks: B3)  Music By – Bill Elliot*, John Lissauer (tracks: B5)  Photography By [Back Cover] – Betsy Annas Producer – Jennifer Warnes, C. Roscoe Beck*  Programmed By – Chuck Barth, Todd Yyega Recorded By – Bill Youdelman* (tracks: B3), Csaba Petocz (tracks: B1), Frank Wolf (tracks: B1), Paul Brown (tracks: B3), Steven Strassman (tracks: B3)  Recorded By [Additional] – Frank Wolf, Larry Brown, Tim Boyle Sleeve [Sleeve Sketch] – Leonard Cohen Written-By – Jennifer Warnes (tracks: B3), Leonard Cohen (tracks: A1 to A4, B1, B2, B4, B5)  Notes Carrollton pressing, denoted by G1 etched in runouts. Does not state Columbia record club anywhere on labels or sleeve, sleeve has regular barcode. "57" plant code on labels. Barcode and Other Identifiers Barcode: 0 14166-1111-1 1 Pressing Plant ID (On Labels): 57 Matrix / Runout (Side A runout etched): 6611111-A C1 E G1 A3 Matrix / Runout (Side B runout etched): 661111-1-B C1 E G1 A18  

USA FIRST PRESSING VINYL ALBUM WITH ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. EDGE CUT.  INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISC: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW VERY LIGHT HAIRLINES. 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.