STEVE YOUNG*, No Place To Fall PROMO USA EXC- LP Montgomery/Seven Bridges Rd

$

28

Steve Young ?– No Place To Fall Label: RCA Victor ?– APL1-2510 Format: Vinyl, LP, Album  Country: US Released: 1978 Genre: Rock, Funk / Soul, Blues, Pop, Folk, World, & Country Style: Country, Acoustic, Soul, Ballad, Country Rock Tracklist Hide Credits A1 No Place To Fall Written-By – Townes Van Zandt 3:59 A2 Montgomery In The Rain Backing Vocals [Vocal Accompaniment] – Kim Young (4), Tracy Nelson Written-By – Steve Young (2) 4:25 A3 Dreamer Written-By – Steve Young (2) 3:40 A4 Always Loving You Backing Vocals [Vocal Accompaniment] – Kim Young (4), Tracy Nelson Written-By – Steve Young (2) 4:50 A5 Drift Away Backing Vocals [Vocal Accompaniment] – Tracy Nelson Written-By – Mentor Williams 4:30 B1 Seven Bridges Road Backing Vocals [Vocal Accompaniment] – Kim Young (4), Tracy Nelson Written-By – Steve Young (2) 4:48 B2 I Closed My Heart's Door Written-By – Ralph Jones (8), Stoney Cooper 4:53 B3 Don't Think Twice, It's All Right Written-By – Bob Dylan 4:07 B4 I Can't Sleep Written-By – Steve Goodman 3:44 B5 I've Got The Same Old Blues Written-By – J.J. Cale 2:28 Companies, etc. Record Company – RCA Corporation Copyright (c) – RCA Records Recorded At – RCA Victor Studios, Nashville Recorded At – Sound Masters, Nashville Recorded At – Jack Clement Recording Studios Recorded At – Celebration Studios Nashville Published By – Columbine Music Inc. Published By – Golden Chain Music Published By – Ridge Music Corp. Published By – Blue Canyon Music Published By – Almo Music Corp. Published By – Irving Music, Inc. Published By – Acuff Rose Publications, Inc. Published By – Warner Bros. Inc. Published By – Big Ears Music, Inc. Published By – Red Pajamas Music, Inc. Published By – Audigram Music Credits Acoustic Guitar – Dale Sellers (tracks: B5), Jerry Shook (tracks: A2 to A5, B1, B5), Steve Young (2) Art Direction – David Hogan, Hot Graphics Bass – Joe Allen (tracks: A1, B2), Mike Leech (tracks: A2 to A5, B1, B3 to B5)  Cello – Buddy Spicher (tracks: A4)  Drums – Karl Himmel (tracks: A2, A4, A5, B1, B3, B4), Kenny Malone (tracks: A1, A3, B2, B5)  Electric Guitar – Dale Sellers (tracks: A2 to A5, B1, B3, B4), Dave Kirby* (tracks: A1, B2), Jim Colvard* (tracks: A1, B2), Larry Byrom (tracks: B1, B5), Mac Gayden (tracks: B4)  Engineer – Bill Harris (2), Garth Fundis, Jerry Shook Harmonica – Charlie McCoy (tracks: A4)  Keyboards – Bobby Wood (tracks: A2 to A5, B1, B3 to B5), Chuck Cochran* (tracks: A1, B2)  Lacquer Cut By – __ ???|???|?K*  Photography By – Jim McGuire Producer – Roy Dea Slide Guitar – Mac Gayden (tracks: A2 to A5, B3, B5)  Steel Guitar – Buddy Emmons (tracks: A2 to A5, B1, B3 to B5), Lloyd Green(tracks: A1, B2)  Viola – Kristin Wilkinson (tracks: A1, A3, A4, B1)  Notes Printed inner sleeve with lyrics  

USA PROMO STAMPED FIRST PRESSING VINYL ALBUM WITH ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.   INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISC: EXCELLENT. NO MARKS OR SCRATCHES. 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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