PLASTIC ONO BAND Live Peace In Toronto 1969 SEALED Apple SW 3362 w CALENDAR

$

95

Vinyl:  MINT!  SEALED!  This is the RARE Original 1969 Apple 1ST PRESSING with The CALENDAR!! SW-3362.  NO BARCODE!!!  John & Yoko's brand new bag was dropped on the public for the first time here, and it must've been quite a sight to see...Eric Clapton on guitar, Alan White, drums, Klaus Voormann on bass and Yoko, doing her thing...Although it rarely gets played, Yoko's "Don't Worry" has a wild Avant-Rock groove that's worth the experience.  An amazing, raw, rock n roll record that was recorded during the Toronto Rock 'N Roll Revival which also saw the likes of Bo Diddley, Little Richard, Jerry Lee Lewis, Alice Cooper (!) and others.  The Live version of "Give Peace A Chance" is the essential version.  Peace Rocks!  By the way:  ROCK THE VOTE!!!!!!  JOL would love you for it!!!...
SEE REVIEW BELOW!
Cover: MINT! SEALED! (see photos) Includes the RARE hype sticker on the rear cover and the even RARER 1970 Calendar!!  Nice high gloss on cover. Front and back of cover artwork and text are rich, clear and bright.  Seams, corners and spine are solid and clean, essentially flawless.  No bumps.  No creases.  No writing.  Spine print is crystal clear.  The shrink is split at the opening about 5 inches on account of sitting around for 51 years waiting to bust out the LP and the calendar :) --see photos.  Also, the record appears straight; when I look down with one eye down all 4 edges there's no big, ominous bow to it that would suggest that it's warped. By the way...you may think the calendar is just an artifact but...this calendar will be accurate and can be used in 2026, 2037, 2043...
I will gladly accept the return of Sealed records as long as they have not been opened (i.e. as long as they are still in the condition I sent them in).  Every record has a "fingerprint" of imperfections in the seal and/or the cover and I separately photograph and keep these details to prevent fraudulently returned items...yep, there are a few rotten apples out there!)  I will not accept a previously sealed record that has been opened, even if the complaint is that the record is warped.  This is why I look down the edge of all 4 sides of the record, to assess for potential bowing.  Look for that in the description of the covers of all my Sealed items. Thanks!  By the way, I've never (knock on wood!) had a buyer complain that they received a warped Sealed record.  :)
Goldmine Standards.  
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All records are packaged securely with the vinyl 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.    

AllMusic Review by Richard S. Ginell  [-]

Although one of the world's best-kept secrets at the time, this was John Lennon's declaration of independence from the Beatles, the document of a concert appearance at Toronto's Rock and Roll Revival Festival about a month after the conclusion of the Abbey Road sessions. Thrown together literally on the wing (they rehearsed only on the flight from England), the ad-hoc band consisting of Lennon, Yoko Ono, Eric Clapton on guitar, Klaus Voorman on bass, and Alan White on drums hit the stage to the surprise and delight of the thousands who packed Varsity Stadium. "We're just going to do numbers we know, you know, because we've never played together before," confesses Lennon, who was reportedly extremely nervous before going on. But the repertoire was a piece of cake for a quartet of seasoned rockers -- blues-based oldies ("Blue Suede Shoes," "Money," "Dizzy Miss Lizzie") and basic then-recent Lennon numbers ("Yer Blues," "Cold Turkey," "Give Peace a Chance") -- and they lay it down in a dignified, noisy, glorified garage band manner. Lennon is in fine vocal form, confident and funny despite his frequent apologies. Yoko introduces her wailing vocals on "Cold Turkey," which dominate later tracks like "Don't Worry Kyoko" and "John John (Let's Hope for Peace)" -- the former backed with plodding rock rhythms and the latter with feedback.