WARREN ZEVON, Transverse City USA 1st pressing EXC- LP Gilmour Garcia Neil Young

$

40

  Warren Zevon ?– Transverse City Label: Virgin ?– 91068-1 Format: Vinyl, LP, Album  Country: US Released: 1989 Genre: Rock, Blues Style: Folk Rock, Indie Rock, Rock & Roll, Hard Rock TracklistHide Credits A1 Transverse City Bass – John Patatucci* Drums – Richie Hayward Guitar – Jerry Garcia Keyboards – Warren Zevon 4:20 A2 Run Straight Down Acoustic Guitar – Waddy Wachtel Bass – Bob Glaub Drums – Richie Hayward Guitar – David Gilmour Harmony Vocals – J.D. Souther* Keyboards – Warren Zevon 4:05 A3 The Long Arm Of The Law Bass – Bob Glaub Drums – Richie Hayward Guitar, Keyboards, Harmony Vocals – Warren Zevon Harmony Vocals – Jordan Zevon Piano – Chick Corea 3:47 A4 Turbulence Bass – Bob Glaub Drums – Richie Hayward Guitar, Keyboards – Warren Zevon Harmony Vocals – J.D. Souther* 4:08 A5 They Moved The Moon Bass – Jack Casady Guitar – Jerry Garcia Keyboards – Warren Zevon 4:31 B1 Splendid Isolation Bass – Bob Glaub Drums – Richie Hayward Guitar – Mike Campbell Guitar, Piano, Harmonica – Warren Zevon Harmony Vocals – Neil Young 4:33 B2 Networking Banjo, Mandolin – Howie Epstein Bass, Harmony Vocals – Jorge Calderón Drums – Richie Hayward Guitar – Waddy Wachtel Keyboards – Warren Zevon Organ – Benmont Tench 3:04 B3 Gridlock Acoustic Guitar, Harmony Vocals – Jorma Kaukonen Bass, Harmony Vocals – Jack Casady Drums – Richie Hayward Guitar, Keyboards – Warren Zevon Harmony Vocals – Jorge Calderón Lead Guitar – Neil Young 4:35 B4 Down In The Mall Bass – Howie Epstein Drums – Richie Hayward Guitar, Keyboards – Warren Zevon Steel Guitar [Lap Steel], Baglama, Oud, Harmony Vocals – David Lindley 4:28 B5 Nobody's In Love This Year Bass – Bob Glaub Drums – Richie Hayward Flugelhorn – Mark Isham Guitar – Waddy Wachtel Guitar, Mandolin – Mike Campbell Harmony Vocals – J.D. Souther* Keyboards – Warren Zevon 4:18 Companies, etc. Mastered At – The Mastering Lab Pressed By – Specialty Records Corporation Credits Design – Jimmy Wachtel Engineer – Andy Jackson, John Cutler, Tim Mulligan Engineer [Assistant] – Heidi Hanschu, Ira Rubnitz, Robert Reed, Scott E. Loveless* Mixed By, Engineer – Rob Jacobs Percussion [Miscallaneous], Mixed By, Engineer [Assistant] – Rob Jaczko Photography By – Jimmy Wachtel, Jonathan Exley, Nels Israelson Producer – Andrew Slater, Duncan Aldrich Producer, Vocals – Warren Zevon Notes Printed inner sleeve with song lyrics. Some sleeves are promo stamped. Barcode and Other Identifiers Barcode: 075679106810 Matrix / Runout (Runout Side A, Hand-Etched): ST-VR-897583-A TML-M 1-1 SRC Matrix / Runout (Runout Side B, Hand-Etched): ST-VR-897584-B TML-X 1-1 SRC  

USA FIRST PRESSING VINYL ALBUM WITH ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.   EDGE CUT.  INNER SLEEVE HAS SEAM SPLITS.

DISC[S]: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW LIGHT 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.  

     
     PRIORITY SIGNED-FOR MAIL IS $14.99

     If you DO NOT use Paypal, we can ship by regular air mail, which costs $19.99

     If you DO NOT use Paypal, we can ship by regular air mail, which costs $26.99