BEATLES RUBBER SOUL 1st UK mono LOUD CUT WRONG MIX XEX 579-1 / 580-1 KT TAX CODE

	£		56
	$		74

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THE BEATLES

Rubber Soul, Parlophone, PMC 1267, December 3, 1965, mono. E.J. Day. front laminated flipback cover

Tri-flip back sleeve, `printed and made by Ernest J Day` on bottom of flipback sleeve

Matrix XEX 579-1 / XEX 580-1

Viny: VG++ (see below for details)

Sleeve: VG++ to EXC, front± EXC, sleeve± VG++, see scan some damage left side of the flip back sleeve, actually small part of the sleeve is gone. Creasing on laminated front sleeve, spine is perfect! 

BEATLES ''RUBBER SOUL'' 1st UK PRESSING (MONO) PMC 1267 RAREST (LOUD CUT)
 ORIGINAL  FLIP BACK E.J. DAY COVER! -1 -1 MATRIX! look (KT) tax code stamped! 
    

This is listed for its collectability rather than for its condition. Awesome, stunning 'loud cut' mono audio quality only found on these earliest pressings! cannot be surpassed on later press in my opinion! (There is light general ware and tare with age on the vinyl and light isolated interference during the play only). Noted the earliest possible matrix for this pressing -1 -1 ending , and the mega rare ''loud cut' version! only pressed for a very (very) limited time, (beleived only for one day) George Martin was not happy with the original mix the matrix was soon changed to the more common -4  matrix endings! These -1 -1 matrix pressings are so collectable being the earliest possible for this album also for the fact that the volume was slightly enhanced on this original hense ''loud cut'' version and can only be heard or found on these rare limited found versions!

Play tested at loud volume prior to this listing, importantly using a dedicated mono cartridge, the audio is super clear and very vibrant throughout with just very light isolated interference/static ticks/crackle in isolated places to mention only.

Rubber Soul is the sixth album by The Beatles, first released in December 1965. Produced by George Martin, the album was recorded in just over four weeks to make the Christmas market. It was a major artistic achievement for the band, attaining widespread critical and commercial success, with reviewers taking note of The Beatles' developing musical vision. In 2003, the album was ranked number 5 on Rolling Stone magazine's list of the 500 greatest albums of all time!!!!!!!.

Musically, the Beatles broadened their sound, most notably with influences drawn from the contemporary folk-rock of the Byrds and Bob Dylan. The album also saw the Beatles broadening rock n' roll's instrumental resources, most notably on "Norwegian Wood (This Bird Has Flown)". This track is generally credited as being the first pop recording to use the sitar, an exotic Indian stringed instrument, and "Norwegian Wood" sparked a musical craze for the sound of the novel instrument in the mid-Sixties. The song is now acknowledged as one of the cornerstones of what is now usually called "world music" and it was a major landmark in the trend towards incorporating non-Western musical influences into Western popular music. Harrison had recently been introduced to Indian classical music and the sitar by David Crosby of the Byrds. He soon became fanatically interested in the genre and began taking sitar lessons from renowned Indian sitar virtuoso Ravi Shankar!!.

Recording innovations were also made during the recording of the album ó for instance, the keyboard solo in "In My Life" sounds like a harpsichord, but was actually played on a piano. George Martin found he could not match the tempo of the song while playing in this baroque style, so he tried recording with the tape running at half-speed. When played back at normal speed during the mixdown, the sped-up sound gave the illusion of a harpsichord. Other production innovations included the use of electronic sound processing on many instruments, notably the heavily compressed and equalised piano sound on Lennon's "The Word"; this distinctive effect soon became extremely popular in the genre of psychedelic music!

Lyrically, the album was a major progression. Though a smattering of earlier Beatles songs had expressed romantic doubt and negativity, the songs on Rubber Soul represented a pronounced development in sophistication, thoughtfulness, and ambiguity. In particular, the relationships between the sexes moved from simpler boy-girl love songs to more nuanced, even negative portrayals. "Norwegian Wood", one of the most famous examples and often cited as the Beatles' first conscious assimilation of the lyrical innovations of Bob Dylan, sketches a poetically ambiguous extra-marital affair between the singer and a mysterious girl. "Drive My Car" serves as a satirical piece of reverse sexism. Songs like "I'm Looking Through You", "You Won't See Me", and "Girl" express more emotionally complex, even bitter and downbeat portrayals of romance, and "Nowhere Man" was the first Beatles song to move beyond a romantic subject!

After completing the album and the accompanying single "We Can Work It Out" and "Day Tripper", the Beatles were exhausted from years of virtually non-stop recording, touring, and film work. They subsequently took a three-month break during the first part of 1966, and used this down time exploring new directions that would colour their subsequent musical work. These became immediately apparent in the next album, Revolver.

Until very late in their career, the "primary" version of the Beatles' albums was always the monophonic mix. According to Beatles historian Mark Lewisohn, the group, producer George Martin, and the Abbey Road engineers devoted most of their time and attention to the mono mixdowns, and the band were usually all present throughout these sessions and actively participated in them. Even with their landmark Sgt. Pepper's Lonely Hearts Club Band LP, the stereo mixdowns were considered less important than the mono version and were completed in far less time than the mono mixdown.

While the stereo version of the original release of Rubber Soul was similar to that of their earliest albums, featuring mainly vocals on the right channel and instruments on the left, it was not produced in the same manner. The early albums were recorded on twin-track tape, and they were intended only for production of monaural records, so they kept vocals and instruments separated allowing the two parts to later be mixed in proper proportion. By this time, however, the Beatles were recording on four-track tape, which allowed a stereo master to be produced with vocals in the center and instruments on both sides, as evidenced in their prior albums Beatles for Sale and Help!. But Martin was looking for a way to easily produce a stereo album which sounded good on a monaural record player. In what he admits was some experimentation, he mixed down the four-track master tape to stereo with vocals on the right, instruments on the left, and nothing in the middle.

The vinyl,

This is the original thicker heavier and deeper grooved vinyl and more robust than later pressings. On initial visual inspection lies perfectly flat on the turntable! The vinyl still retains its original sheen from new. On visual inspection there are surface marks and scratches that i can see, it's VG++ all over, so distrotion but no loud noise and tics

The Audio Quality

Please note! The 1st thing to note is there is obvious light noise during the play of this vinyl, and the audio is crystal clear and vibrant throughout, very rare to find like this indeed! Also it is important to note that even the track Michelle played through clear and vibrant. very rare to find  There was no loud nasty annoying clicks or pops heard during the audio and certainly no skips or jumps, however i heard some isolated static type ticks/crackle only, also even in between tracks this is almost silent with very very isolated static in between one or two tracks only. In my opinion this vinyl has had only minimal play only and has certainly not been overplayed, a very rich deep vibrant mono audio, that can only ever be found on these earliest mono pressings! However Michele does not sound too good, has distortion so please be aware, the other tracks sound marvellous and of course very collectable and sought after being the earliest   'LOUD CUT' VERSION! 

Please note, I always add this disclaimer.I have tried to give my honest opinion when listening to the audio quality of this vinyl. Please allow for the odd very light static crackle and light isolated static type ticks, (not consistant throughout the audio) Please remember that this is an original 1st UK pressing that is 47 years old and would have originally been played on a 47 year old system!

 A constant clean before each play is hioghly recomended. This will reduce any static and will enhance the audio quality!

The Matrix

''XEX 579-1'' ''XEX 580-1'' (earliest possible)

The Labels

These feature the (YELLOW AND BLACK) Parlophone labels (only early press) (see photo) Please note! a bit of spidering can be seen around the spindle hole! ''sold in the UK ......'' is featured across the labels (only 1st press) and ''The Gramophone Co........'' around the rim (only 1st pressThere is some spindle ware the hole is perfectly round! ''made in gt Britain'' is featured (UK press) look KT tax code on label on side 2 !!! so absolutely first pressing!!!!!

VERY VERY RARE!!!!

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