THE BEATLES Yellow Submarine MINT Capitol SW-153 PURPLE LABEL

$

35

Vinyl:  MINT!  TOP COPY!  Play Graded. Plays Like New!  Capitol Labels are Clean and Bright.  This is the audiophile acclaimed Capitol Purple Dome Release, Mastered at Capitol's Los Angeles, CA Studios!  Well-known for its clean sound and superior SQ, among audiophiles this is the most sought-after of the many different Yellow Submarine releases, for its superior fidelity!   As an OST for the Film, and since the Film is required viewing for the People of Earth, so is the Soundtrack!  The ultimate Trip, this is the ultimate journey to the outer reaches of Fantasy that The Beatles enjoyed as Icons of our Era...As they were already larger than life, why not indulge in the Fantasy that they existed purely for the elimination of Bad Vibes (i.e. Blue Meanies) everywhere...and isn't that the actual most evident result of their Legendary Songbook??  This Soundtrack, then, is the Answer to all of Earth's problems :)  Enjoy!   PS:  Don't disregard Side 2.  It is inspired labor-of-love from the FOR REAL 5th Beatle, Producer George Martin (by the way, I have a Lot of 5 of George Martin-Related items among my listings, including his book, on th making of Sgt. Pepper, signed by Sir George himself!)   Released January 13, 1969.
See Review Below!
In the Dead Wax:  Matrices, etched.  On both sides:  MASTERED BY CAPITOL
Complete Dead Wax information cheerfully provided upon request.
       Cover: VG+  (see photos)  Fantastic fun Liner Notes by Dan Davis on the back cover!   Front and back of cover artwork and text are rich, clear and bright, with some ring wear.  Seams, corners and spine are solid, with minor wear.  No splits. No writing.  No stickers.  Spine print is crystal clear.  

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Goldmine Standards.   I play grade every record that I sell on eBay as I have found you can't rate an LP accurately by just visually inspecting an album.  I wipe the dust off of every cover with clean, unscented baby wipes.  I professionally clean the vinyl.  (I also operate a Vinyl Record Cleaning business for your dusty/dirty records--if interested, send me a message).

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All records are packaged securely with the vinyl outside the jacket (to avoid seam split in transit). The vinyl and jacket are 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.   

Yellow Submarine Review by Richie Unterberger

See n by member Beatles fans as essential, despite being a Soundtrack for the film there are four new Beatles songs that presented on this album. (The rest of the album was filled out with "Yellow Submarine," "All You Need Is Love," and a George Martin score.) Two of the four new tracks were pleasant ditties recorded during 1967 and early 1968.  "All Together Now" is a cute, kiddie-ish McCartney singalong, while "Hey Bulldog" has some mild Lennon nastiness and a great beat and central piano riff, with some fine playing all around -- each is memorable in its way, and the inclusion of the Lennon song here was all the more important, as the sequence from the movie in which it was used was deleted from the original U.S. release of the movie (which had no success whatever in the U.K. and quickly disappeared, thus making the U.S. version the established cut of the film for decades. George Harrison's two contributions were the more striking of the new entries -- "Only a Northern Song" was a leftover from the Sgt. Pepper's sessions, generated from a period in which the guitarist became increasingly fascinated with keyboards, especially the organ and the Mellotron (and, later, the synthesizer). It's an odd piece of psychedelic ersatz, mixing trippiness and some personal comments. Its lyrics (and title) on the one hand express the guitarist/singer/composer's displeasure at being tied in his publishing to Northern Songs, a company in which John Lennon and Paul McCartney were the majority shareholders; and, on the other, they present Harrison's vision of how music and recording sounded, from the inside-out and the outside-in, during the psychedelic era -- the song thus provided a rare glimpse inside the doors of perception of being a Beatle (or, at least, one aspect of being this particular Beatle) circa 1967. And then there was the jewel of the new songs, "It's All Too Much." Coming from the second half of 1967, the song -- resplendent in swirling Mellotron, larger-than-life percussion, and tidal waves of feedback guitar -- was a virtuoso excursion into otherwise hazy psychedelia, and was actually superior in some respects to "Blue Jay Way," Harrison's songwriting contribution to The Magical Mystery Tour; the song also later rated a dazzling cover by Steve Hillage in the middle of the following decade. The very fact that George Harrison was afforded two song slots and a relatively uncompetitive canvas for his music shows how little the project meant to Lennon and McCartney -- as did the cutting of the "Hey Bulldog" sequence from the movie, apparently with no resistance from Lennon, who had other, more important artistic fish to fry in 1968. What is here, however, is a good enough reason for owning the record.