MARVIN GAYE I Want You VG++ 1976 Tamla T6-342S1 1ST PRESS DENNIS COFFEY MONARCH
$
49
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Description
Vinyl: VG++ Play Graded. Sounds Great! Has some marks that don't affect the sound quality. Tamla Labels are Clean and Bright. This is the 1976 Tamla T6-342S1 1st Pressing! This is the audiophile acclaimed pressing, pressed at the renowned Monarch Records Mfg. Corp., Los Angeles, CA Pressing Plant!! Monarch pressings are generally known to be punchy sounding: warmer, deeper bass and drums, They have perceptibly better presence. You can sometimes even 'hear' the room they're recorded in, while vocals and highs are typically silkier and smoother, not so tipped up or hard sounding - even when compared against the same lacquer cutting pressed by a different facility.
Essential R&B! Essential Soul! You can distinctly here the contributions of one of the funkiest white guitarists EVER, Dennis Coffey, especially on the title cut on side 1 and the separate jam track of the same song, on side 2. This is Marvin Gaye at his sexiest, and that's saying a lot considering what came before this album...Bedroom music of the First Order, and killer jams to appreciated on their own to boot! Enjoy! allmusic gives it 4 1/2 stars!!!See Review Below!
In the Dead Wax: Matrices, etched. Also, on both sides, the MR glyph ((Pressed at Monarch Records Mfg. Corp., Los Angeles, CA)) Complete Dead Wax information cheerfully given upon request.
Cover: VG++ (see photos) Notchcut. This is the epic Ernie Barnes painting that was on the end credits of the hit TV show "Good Times" in the mid '70s...the original sold in May, 2022 for $15.2 million! Your beautiful print costs less than $50! Front and back of cover artwork and text are rich, clear and bright, with some ring wear and a crease on the top left corner. Seams, spine and corners are solid and clean, with minor wear. No splits. No writing. Spine print is crystal clear.Goldmine Standards. I play grade every record that I sell on eBay as I have found you can't rate a record accurately by just visually inspecting it. I wipe the dust off of every cover with clean, unscented baby wipes. I professionally clean the vinyl. (I also operate a Vinyl Record Cleaning business for your dusty/dirty records--if interested, send me a message).
All records are packaged securely with the vinyl outside the jacket (to avoid seam split in transit). The vinyl and jacket are 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.
I Want You Review
by Thom Jurek
[-]I Want You, while it a Top Ten smash for Marvin Gaye in 1976, is not as generally as well-known as its predecessors for several reasons. First, it marked a sharp change in direction, leaving his trademark Motown soul for lush, funky, breezy disco. Secondly, its subject matter is as close to explicit as pop records got in 1976. Third, Gaye hadn't recorded in nearly three years and critics were onto something else -- exactly what, in retrospect is anybody's guess. From the amazing Ernie Barnes cover painting "Back to Sugar Shack" to the Coleridge-Taylor Perkinson string and horn arrangements to Leon Ware's exotic production that relied on keyboards as well as drums and basses as rhythm instruments, I Want You was a giant leap for Gaye. The feel of the album was one of late-night parties in basements and small clubs, and the intimacy of the music evokes the image of people getting closer as every hour of a steamy night wears on. But the most astonishing things about I Want You are its intimacy (it was dedicated to and recorded in front of Gaye's future second wife, Jan), silky elegance, and seamless textures. Gaye worked with producer Leon Ware, who wrote all of the original songs on the album and worked with Gaye to revise them, thus lending Gaye a co-writing credit. The title track is a monster two-step groover with hand percussion playing counterpoint to the strings and horns layered in against a spare electric guitar solo, all before Gaye begins to sing on top of the funky backbeat. It's a party anthem to be sure, and one that evokes the vulnerability that a man in love displays when the object of his affection is in plain sight. Art Stewart's engineering rounds off all the edges and makes Gaye's already sweet crooning instrument into the true grain in the voice of seductive need. "Feel All My Love Inside" and "I Want to Be Where You Are" are anthems to sensuality with strings creeping up under Gaye's voice as the guitars move through a series of chunky changes and drums punctuate his every syllable. In all, the original album is a suite to the bedroom, one in which a man tells his woman all of his sexual aspirations because of his love for her. The entire album has been referenced by everyone from Mary J. Blige to D'Angelo to Chico DeBarge and even Todd Rundgren, who performed the title track live regularly. By the time it is over, the listener should be a blissed-out, brimming container for amorous hunger. I Want You and its companion, Ware's Musical Massage, are the pre-eminent early disco concept albums. They are adult albums about intimacy, sensuality, and commitment, and decades later they still reverberate with class, sincerity, grace, intense focus, and astonishingly good taste. I Want You is as necessary as anything Gaye ever recorded.
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