THIS IS THE 1987 AUSTRALIAN REPRESSING on EMI label. SINGLE COVER.  The cover is in VG(+) condition: normal wear BUT surface ringwear (more evident on bottom front), mild creases on edges, small tear on front right edge, discolouration/wear on corners/spines, left spine is readable; please for details see photos (with and without flashlight).  The vinyl is in EX condition (barely played) and plays wonderfully. 

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THE SAINTS

Unpretentious and straightforward, these long-haired Aussies refused to subscribe to the rigid definitions of the punk scene. Roaring out of Brisbane, Australia in 1977 with the punk-era classic "(I'm) Stranded," the Saints, despite going through numerous incarnations, were a part of rock & roll for more than 20 years, thanks mainly to their indefatigable leader (and founder), Chris Bailey. Although they didn't play anything that passes for punk rock after about 1978, and despite extended dormant periods, the Saints never officially broke up, and Bailey always seemed to have another version of the band and another record ready to release. Saints' fans generally fall into two distinct camps: the punk-era fans (up to about 1980) and the mature pop fans.

Barcode: 5 099916 613218

LABEL: EMI -  CREAM LABEL - BLACK/RED TEXT

Catalog on cover: MID.166132

Catalog on labels: MID 166132  MID 166132A / MID 166132  MID 166132B

Matrix / Runout (Side A, Etched): SHSP 4094 A-3 MID 166132 A

Matrix / Runout (Side B, tched): SHSP 4094 B-3 MID 166132 B

On labels: rim text "All rights........prohibited"

℗ & © 1978 EMI Records Ltd.

Produced by Chris Bailey and Ed Kuepper

On Back Sleeve: Tracklist + Credits

© & ℗ 1978 EMI Records Limited

Manufactured and distributed by EMI (Australia) Limited

grading

RECORD EX but (please, read above description)

SLEEVE VG(+) but (please, see pictures and read above description)

With Prehistoric Sounds (the last record of the band's original lineup), the Saints provide the textbook by which to make a great rock record where horns play as much of a role as guitar. Further extracting themselves from the limitations of punk, the band retains the attitude and turns it into a smart, bluesy, gutsy combination of controlled power. There's more dip in the hip and additional swagger. The days of "(I'm) Stranded" might have been long gone, but the varied tempos and sophisticated songwriting don't sacrifice the band's intensity at all. The horns are the real treat, a central element to the record's solidity. They don't make the Saints sound like Chicago, and they don't make them sound like a faux '70s soul band -- they don't make them sound like the Doors of "Touch Me" or the Bowie of Young Americans, either. Whether used for the basis or just punctuation of each song, the tasteful use of saxophones is a genuine masterstroke. The dynamic "Brisbane (Security City)" -- which is like an update of the Stooges' "1969" and "1970" in terms of subject matter -- is the high point. After two minutes of Chris Bailey's Iggy-like lament on his hometown, the medium tempo shifts into high gear, thanks to rhythmic overdrive, charged guitars, and (of course) the ubiquitous horns. Other bright spots include "Every Day's a Holiday, Every Night's a Party" and an energetic cover of Otis Redding's "Security," where Bailey sounds so much like a young Van Morrison that it's scary...(AllMusic)