MEAT LOAF***, Bat Out Of Hell USA 1st pressing Excellent- LP

$

60

Meat Loaf – Bat Out Of Hell Label: Epic – PE 34974, Cleveland International Records – 34974 Format: Vinyl, LP, Album, Pitman Press Country: US Released: 1977 Genre: Rock Style: Pop Rock, Hard Rock Tracklist A1 Bat Out Of Hell 9:48 A2 You Took The Words Right Out Of My Mouth (Hot Summer Night) 5:04 A3 Heaven Can Wait 4:38 A4 All Revved Up With No Place To Go 4:19 B1 Two Out Of Three Ain't Bad 5:23 Paradise By The Dashboard Light (8:28) B2-I Paradise B2-II Let Me Sleep On It B2-III Praying For The End Of Time B3 For Crying Out Loud 8:45 Companies, etc. Recorded At – Bearsville Studios Recorded At – Utopia Sound Recorded At – The Hit Factory Recorded At – House Of Music, West Orange, NJ Mastered At – Master Cutting Room Pressed By – Columbia Records Pressing Plant, Pitman Manufactured By – Epic Records Manufactured By – CBS Inc. Copyright © – Edward B. Marks Music Corporation Copyright © – Neverland Music Co. Copyright © – Peg Music Co. Phonographic Copyright ℗ – CBS Inc. Copyright © – CBS Inc. Credits Advisor [Special Consultant] – Charlie Conrad Arranged By – Jim Steinman, Steve Margoshes (tracks: B3), Todd Rundgren Arranged By [Orchestra] – Steve Margoshes (tracks: B3) Arranged By [String Arrangement] – Ken Ascher (tracks: A3, B1) Backing Vocals – Ellen Foley (tracks: A1, A2, A4, B2), Kasim Sultan* (tracks: A1), Marvin Lee* (tracks: B2), Rory Dodd (tracks: A1 to A3, B1 to B3), Todd Rundgren (tracks: A1 to A3, B1, B2) Bass – Kasim Sultan* (tracks: A1, A2, A4 to B3) Concept By [Album Conceived By] – Jim Steinman, Meat Loaf Concertmaster [Concert Master] – Gene Orloff (tracks: B3) Design – Ed Lee Design Concept [Cover] – Jim Steinman Drums – John Wilcox (tracks: A4, B1, B3), Max Weinberg (tracks: A1, A2, B2) Effects [Lascivious] – Jim Steinman (tracks: B2) Engineer [Assistant] – Cliff Hopson* Featuring, Vocals [Female] – Ellen Foley (tracks: B2) Guitar – Todd Rundgren (tracks: A1, A2, A4 to B2) Guitar [Motorcycle] – Todd Rundgren (tracks: A1) Illustration – Richard Corben Keyboards – Jim Steinman (tracks: A1, A2, B2), Roy Bittan (tracks: A1, A2, B2), Todd Rundgren (tracks: A1) Management – David Sonenberg, Earl Shuman (2) Mastered By – Joe Brescio Orchestra [Members Of] – New York Philharmonic* (tracks: B3), Philadelphia Orchestra* (tracks: B3) Other [Executive Secretary] – Betty D'Amico Percussion – Jim Steinman (tracks: A1, A2), Marvin Lee* (tracks: A2), Todd Rundgren (tracks: A1, A2) Photography By – Frank Laffitte Piano – Cheryl Hardwick (tracks: B3), Roy Bittan (tracks: A1 to B2), Steve Margoshes (tracks: B3) Piano, Soloist – Roy Bittan (tracks: B3) Producer, Engineer, Mixed By – Todd Rundgren Product Manager – Sam Ellis (4) Production Manager [Production Assistant] – Richard Maiori Recorded By – Ed Sprague, Jimmy Iovine, John Jansen, Mark Thomas (19) Remix – Jimmy Iovine (tracks: B1), John Jansen (tracks: A1, A4, B2) Saxophone – Edgar Winter (tracks: A2, A4, B2) Synthesizer – Roger Powell (tracks: A1, A2, B1, B2) Vocals – Meat Loaf Voice [Play-by-Play] – Phil (Scooter) Rizzuto* (tracks: B2) Written-By [All Songs] – Jim Steinman

USA FIRST PRESSING VINYL ALBUM WITH ORIGINAL PRINTED INNER SLEEVE.

MATRIX: SIDE A: P AL 39474-4AG O R / SIDE B: P P BL 34974-3BB O B

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. INNER SLEEVE HAS ONE MIDDLE SIDE SEAM SPLIT.

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, 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.

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