STEELY DAN, Pretzel Logic USA 1st press Zentz LP [Rikki Don't Lose That Number]
  $   49

 


$ 49 Sold For
Oct 4, 2019 Sold Date
1 Number Of Bids
  USA Country Of Seller
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Description

Steely Dan ?– Pretzel Logic Label: ABC Records ?– ABCD-808 Format: Vinyl, LP, Album, Terre Haute  Country: US Released: 1974 Genre: Jazz, Rock Style: Jazz-Rock, Pop Rock, Classic Rock Tracklist Hide Credits A1 Rikki Don't Lose That Number 4:30 A2 Night By Night 3:36 A3 Any Major Dude Will Tell You 3:05 A4 Barrytown 3:17 A5 East St. Louis Toodle-oo Written-By – Bubber Miley, Duke Ellington 2:45 B1 Parker's Band 2:36 B2 Through With Buzz 1:30 B3 Pretzel Logic 4:28 B4 With A Gun 2:15 B5 Charlie Freak 2:41 B6 Monkey In Your Soul 2:31 Companies, etc. Engineered At – The Village Recorder Mixed At – Cherokee Studios Phonographic Copyright (p) – ABC Records, Inc. Copyright (c) – ABC Records, Inc. Published By – American Broadcasting Music, Inc. Published By – Mills Music, Inc. Published By – Red Giant Music, Inc. Pressed By – Columbia Records Pressing Plant, Terre Haute Credits Art Direction, Photography By [Inside] – Ed Caraeff Bass – Chuck Rainey, Timothy B. Schmit, Wilton Felder Bass, Guitar – Walter Becker Design – David Larkham Drums – Jeff Porcaro, Jim Gordon, Jim Hodder Engineer – Roger (The Immortal) Nichols*  Guitar – Ben Benay, Denny Diaz*, Jeff Baxter Guitar, Banjo – Dean Parks Keyboards – David Paich, Michael Omartian Keyboards, Percussion – Victor Feldman Management [Personal] – Kudo III Mastered By – Az*  Orchestrated By – Jimmie Haskell Other [Security] – Karen Stanley  Photography By [Cover] – Raenne Rubenstein*  Producer – Gary Katz Saxophone – Ernie Watts, Jerome Richardson, Plas Johnson Trumpet – Ollie Mitchell Vocals, Keyboards – Donald Fagen Written-By – D. Fagan* (tracks: A1 to A4, B1 to B6), W. Becker* (tracks: A1 to A4, B1 to B6)  Notes Gatefold Packaging.  Fuzz box — Courtesy of Valley Sound  Tim Schmit — Courtesy of Epic Records  Engineered at the Village Recorder, West Los Angeles. Overdub and mixdown at Cherokee Sound, Chatsworth, Calif. All songs pub. by American Broadcasting Music, Inc. (ASCAP) unless otherwise indicated.  American Broadcasting Music, Inc./Red Giant Music, Inc. [A4] Mills Music, Inc. (ASCAP) [A5]  American Broadcasting Music, Inc./Red Giant Music, Inc. (ASCAP) [B1, B5] ? 1974   

USA FIRST PRESSING ALLEN ZENTZ CUT VINYL ALBUM IN GATEFOLD SLEEVE WITH ORIGINAL WHITE INNER SLEEVE. Decent condition original pressings of Dan's classic third album are becoming increasingly hard to find.

MATRIX:  SIDE A: T1 ABCD 808-A RE2 - 2 AZ D7 / SIDE B: T1 ABCD 808-B RE2 - 2 AZ B14.

SLEEVE: VERY GOOD+, SOME SHELF, CORNER, EDGE AND RING WEAR.  PEN NAME ON FRONT AND REAR.  SPINE NICKS.  INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISC: VERY GOOD+, JUST SHORT OF EXCELLENT MINUS. NO SCRATCHES, JUST A FEW 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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