ALEXIS KORNER, Bootleg Him PROMO USA 1st pressing EXCELLENT- 2LP Roger Dean

$

30

Alexis Korner ?– Bootleg Him! Label: Warner Bros. Records ?– 2XS 1966 Format: 2 × Vinyl, LP, Album  Country: US Released: 1972 Genre: Rock, Blues Style: Blues Rock Tracklist Hide Credits A1 –Blues Incorporated She Fooled Me Double Bass [String Bass] – Unknown Artist Drums – Colin Bowden Harmonica – Cyril Davies Piano – Keith Scott (5) Vocals, Electric Guitar – Alexis Korner Written-By – Billy Boy Arnold 2:17 A2 –Blues Incorporated I'm A Hoochie Coochie Man Double Bass [String Bass] – Jack Bruce Drums – Charlie Watts Electric Guitar – Alexis Korner Piano – Dave Stevens (4) Tenor Saxophone – Dick Heckstall-Smith Vocals – Cyril Davies Written-By – Willie Dixon 3:25 A3 –Blues Incorporated Yellow Dog Blues Alto Saxophone – Ray Warleigh Double Bass [String Bass] – Danny Thompson Drums – Terry Cox Electric Guitar – Alexis Korner Piano – Chris Pyne Written-By – W.C. Handy* 4:07 A4 –Blues Incorporated I Wonder Who Baritone Saxophone – John Surman Double Bass [String Bass] – Dave Holland Trombone – Chris Pyne Written-By, Vocals, Electric Guitar – Alexis Korner 6:20 A5 –Blues Incorporated Dee Acoustic Guitar, Written-By – Alexis Korner Baritone Saxophone – John Surman Double Bass [String Bass] – Dave Holland Trombone – Chris Pyne 3:44 B1 –Blues Incorporated Oh Lord Don't Let Them Drop That Atomic Bomb On Me Double Bass [String Bass] – Danny Thompson Drums – Terry Cox Tenor Saxophone – Alan Skidmore Trombone – Chris Pyne Vocals, Electric Guitar – Alexis Korner Written-By – Charlie Mingus* 3:20 B2 –Blues Incorporated Rockin Alto Saxophone – Graham Bond Double Bass [String Bass] – Jack Bruce Drums – Ginger Baker Electric Guitar, Written-By – Alexis Korner Piano – Johnny Parker (4) Tenor Saxophone – Dick Heckstall-Smith 2:44 B3 –Blues Incorporated Honesty Alto Saxophone – Ray Warleigh Double Bass [String Bass] – Danny Thompson Drums – Terry Cox Electric Guitar – Alexis Korner Trombone – Chris Pyne Written-By – Dave Baker* 9:00 B4 –Blues Incorporated I Got A Woman Alto Saxophone – Ray Warleigh Double Bass [String Bass] – Danny Thompson Electric Guitar – Alexis Korner Tenor Saxophone – Brian Smith, Nigel Stanger Vocals – Herbie Goins Written-By – Ray Charles 3:26 B5 –New Church & Friends* Mighty-Mighty Spade And Whitey Alto Saxophone – Ray Warleigh Baritone Saxophone – John Surman Bass – Andy Fraser Drums – John Marshall Tenor Saxophone – Lol Coxhill Trombone – Chris Pyne, Malcolm Griffiths Trumpet – Harold Beckett*, Henry Lowther Vocals – Paul Rodgers Vocals, Electric Guitar – Alexis Korner, Peter Thorup Vocals, Tambourine – Annette Brox Written-By – Curtis Mayfield 4:06 C1 –Duo (6) Corina - Corina Arranged By, Vocals, Acoustic Guitar – Alexis Korner Vocals, Trumpet – Victor Brox Written-By – Traditional 3:02 C2 –Duo (6) Operator Written-By, Acoustic Guitar, Vocals – Alexis Korner Written-By, Piano – Steve Miller (3) Written-By, Vocals, Harmonica – Robert Plant 4:36 C3 –Duo (6) The Love You Save Piano – Victor Brox Vocals, Electric Guitar – Alexis Korner Written-By – Joe Tex 5:38 C4 –New Church Jesus Is Just Alright Bass – Ray Babbington* Vocals – Peter Fensome Vocals, Electric Guitar – Peter Thorup Vocals, Mandoguitar – Alexis Korner Vocals, Tambourine – Annette Brox Written-By – A. Reynolds* 3:00 C5 –Alexis Korner That's All Bass – Colin Hodgkinson Composed By [New Words & Music] – Alexis Korner, David Ward (8), J.P. Salvatori* Vocals, Acoustic Guitar – Alexis Korner Written-By – Traditional 3:18 D1 –Duo (6) Evil Hearted Woman Acoustic Guitar – Peter Thorup Bass – Colin Hodgkinson Vocals, Tipple – Alexis Korner Written-By – Mance Lipscombe* 3:58 D2 –Alexis Korner Clay House Inn Bass – Colin Hodgkinson Drums – Jack Brooks Electric Guitar – Larry Power Piano – Chris MacGregor* Vocals, Acoustic Guitar – Alexis Korner Written-By – David Ward (8) 2:48 D3 –Alexis Korner Love Is Gonna Go Bass – Colin Hodgkinson Vocals, Acoustic Guitar – Alexis Korner Written-By – Alexis Korner, Duffy Power 3:49 D4 –C.C.S.* Sunrise Bass – Herbie Flowers Conductor, Electric Piano – John Cameron (2) Double Bass – Spike Heatley Drums – Barry Morgan, Tony Carr French Horn – Neil Sanders Guitar – Alan Parker Percussion – Bill LeSage*, Jim Lawless Saxophone, Woodwind – Bob Efford, Danny Moss, Harold McNair, Pete King*, Ron Ross*, Tony Coe Trombone – Bill Geldard, Brian Perrin, Don Lusher, John Marshall* Trumpet – Greg Bowen, Harold Beckett*, Henry Lowther, Kenny Wheeler, Les Condon, Tony Fisher (2) Vocals – Peter Thorup Written-By, Vocals, Acoustic Guitar – Alexis Korner 5:02 D5 –Duo (6) Hellhound On My Trail Tipple – Alexis Korner Vocals, Acoustic Guitar – Peter Thorup Written-By – Robert Johnson 3:12 Companies, etc. Pressed By – Columbia Records Pressing Plant, Santa Maria Credits Design – Roger Dean (4) Executive Producer – Jean Paul Salvatori  Notes Has four page insert with bands information.

USA PROMO STICKERED FIRST PRESSING DOUBLE VINYL ALBUM IN GATEFOLD SLEEVE WITH INSERT AND NEW WHITE INNER SLEEVES.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.  HYPE STICKER AND REAR PROMO STICKER. INSERT EXCELLENT.

DISCS: 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.