MARVIN GAYE, Let's Get It On USA 1st pressing LP Come Get to This/You Sure Love

$

38

  Marvin Gaye ?– Let's Get It On Label: Tamla ?– T 329V1, Tamla ?– T329V1 Format: Vinyl, LP, Album, Gatefold  Country: US Released: 1973 Genre: Funk / Soul Style: Soul TracklistHide Credits A1 Let's Get It On 4:44 A2 Please Don't Stay (Once You Go Away) 3:32 A3 If I Should Die Tonight 3:57 A4 Keep Gettin' It On 3:12 B1 Come Get To This 2:40 B2 Distant Lover 4:15 B3 You Sure Love To Ball Voice [Sex Voices] – Fred Ross (2), Madeline Ross 4:43 B4 Just To Keep You Satisfied 4:35 Companies, etc. Published By – Jobete Music Co., Inc. Published By – Cherritown Music Co., Inc. Phonographic Copyright (p) – Motown Record Corporation Copyright (c) – Motown Record Corporation Record Company – Motown Record Corporation Pressed By – RCA Records Pressing Plant, Hollywood Credits Arranged By – David Blumberg (tracks: B3), David Van DePitte (tracks: B1, B2, B4), Gene Page (tracks: B1), Rene Hall (tracks: A1 to A4) Bass – James Jamerson, Welton Felder* Bongos – Bobbye Hall Porter, Eddie "Bongo" Brown Drums – Eddie "Bongo" Brown, Paul Humphries*, Uriel Jones Engineer, Mixed By – Art Stewart, Cal Harris Guitar – David T. Walker, Eddie Willis, Lewis Shelton*, Better Known As "Wah Wah"*, Melvin Ragin,Robert White Liner Notes – Marvin Gaye Mallets [Mallettes] – Emil Richards Other [Special Treatment] – Bobbye Hall Porter, Ernie Watts, Plas Johnson Photography By – Jim Britt Piano – Joe Sample, Marvin Gaye, Marvin Jenkins Producer – Ed Townsend (tracks: A1 to A4), Marvin Gaye Vibraphone [Vibes] – Emil Richards, Victor Feldman Written-By – Anna Gaye* (tracks: B4), Ed Townsend (tracks: A1 to A4), Elgie Stover (tracks: B4), Gwen Gordy Fuqua (tracks: B2), Marvin Gaye, Sandra Greene (tracks: B2) Notes Cat# on vinyl label: T 329V1 Cat# on front cover and spine: T329V1 Gatefold and there are also Non-Gatefold versions. Please see comment notes. A1 to A4: Jobete Music Co., Inc. (ASCAP) & Cherritown Music Co., Inc. (BMI) B1 to B4: Jobete Music Co., Inc. (ASCAP) ? 1973 Motown Record Corporation. © 1973 Motown Record Corporation. Printed in U.S.A.  

USA FIRST PRESSING VINYL ALBUM WITH ORIGINAL COMPANY INNER SLEEVE.

MATRIX:  H T329-V1 -C5RS-7950-1  03B /  H  T.329-V1 T?3?2?8?V?1? -C5RS-7951-2 03B.

SLEEVE: VERY GOOD, SOME SHELF, CORNER, EDGE AND RING WEAR.

DISC[S]: VERY GOOD+. NO SCRATCHES, JUST A FEW 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.  

     
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