MILES DAVIS, Agharta WHITE LABEL PROMO 1st pressing 1A stamper 2LP PETE COSEY

	£		50
	$		66

USA 1ST PRESSING WHITE LABEL PROMO DOUBLE VINYL LP IN GATEFOLD. If you can live with the 'lesser' quality sleeve this set is housed in, you will have a truly amazing playing copy because the vinyl is splendid, and the album sounds as fresh and vibrant today as it did in February, 1976, actually, it sounded more 'confrontational' back then with its Pete Cosey guitar, who Miles Davis wrote, “gave me that Jimi Hendrix and Muddy Waters sound that I wanted.” These days, this period of Miles' experimental career is seen for the ground-breaking brilliance that it was.

From Wikipedia, the free encyclopedia:...Both Agharta and its sister recording, Pangaea, were recorded on the same day, February 1, in Osaka, Japan. The Agharta concert took place during an afternoon matinée, whereas Pangaea was recorded in the evening. Months after these concerts, Davis—suffering ever mounting health problems and depression—retreated from public musical activity. This makes Agharta and Pangaea his final albums of new material until the 1981 comeback LP The Man with the Horn.
On all versions of Agharta the titles of tracks 1 and 2 on the second disc are mixed up, therefore the second disc's first track, mislabled "Interlude", really should be the one labeled "Theme From Jack Johnson". The track starts off with a performance of "Right Off" from Davis's A Tribute to Jack Johnson LP and goes into a quote of the theme from "So What", a tune from Davis's 1959 LP Kind of Blue after which the band segues into a performance of "Ife". Track 2, mislabled "Theme From Jack Johnson", is really a continuation of "Ife" which segues into the set's concluding piece, a lengthy workout in A minor commonly referred to as "For Dave".
The master tapes for both Pangaea and Agharta were quite heavily remixed when prepared for release on CD. This led to a lot more details and separation of instruments being heard on the original LP releases, as well as an overall richer and fuller sound...
So, only the early vinyl pressings are the way to hear the album as it SHOULD be heard - all dark, dense and layered, none of that shiny, digital, compressed seperation crap they foist on us sad-suffering music listeners these days...

MATRIX NUMBERS IN RUN-OFF GROOVES: AL 33968 - 1A / BL 33968 - 1C / AL 33969 - 1A / BL 33969 - 1A.

A note about Columbia first pressings: Columbia used XSM, MAL, XLP, and consecutive numbers for each side, or PAL and PBL prefixes for sides 1 and 2 of their albums, followed by A and B suffixes for the Santa Maria, Ca. pressing plant, C and D for Terra Haute, In. and E and F for Pitman N.J. Six (or more) sets of lacquers were usually cut for any big-name artist, so the very first mastering would be 1A, 1B, 1C, 1D, 1E, and 1F.

SLEEVE: VERY GOOD MINUS DUE TO RING, SHELF AND EDGE WEAR, CORNER BUMPS AND GENERAL WORN LOOK - NO SEAM SPLITS BUT RADIO STATION STAMP AND PROMO STAMP/TIMING BAND.

DISCS: ALL EXCELLENT, JUST A FEW VERY LIGHT HAIRLINES AND MINOR SPINDLE WEAR - THIS HAS NOT BEEN PLAYED VERY MUCH AND PLAYS AND SOUNDS EXCELLENT ON ALL SIDES. LABELS HAVE RADIO STATION STAMPS ON. THIS IS ACTUALLY THE BEST SOUDING COPY OF THIS ALUBM WE HAVE EVER HEARD.

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