DEPECHE MODE 101 MINTY 1989 Sire 2LP 1ST PRESS w BOOKLET ANTON CORBIJN
$
100
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Description
Vinyl: MINTY! TOP COPY! Appears to have never been played! Super High Gloss! Sire Labels are Clean and Bright. This is the audiophile acclaimed 1989 Sire 1-25853 2LP LIVE! Direct Metal Mastering 1ST PRESSING! This along with the documentary of this Legendary LIVE recording at the Pasadena Rose Bowl is proof positive that Depeche Mode were a force to be reckoned with and that there were a legion of fans that were ready to elevate the band to their proper Cult status. Crucial! allmusic gives it 4 stars!!
In the Dead Wax: On both sides: matrices, etched. Also K-DISC and DMM on all 4 sides ((denoting that Direct Metal Mastering was employed)) --Complete dead wax information cheerfully given upon request.
Cover: MINTY! TOP COPY! (see photos) Gatefold. Includes the 16 page Booklet photographed by Anton Corbijn! Nice high gloss on cover. Front, gatefold and back of cover artwork and text are rich, clear and bright, essentially flawless. Seams, corners and spine are solid and clean, essentially flawless. No splits. No writing. Spine print is crystal clear.
Goldmine Standards.
U.S. Shipping: FREE domestic shipping! Includes Tracking. Combine any additional items and they're also shipped FREE! If you wish to take advantage of my COMBINED SHIPPING deal, simply select your items by clicking on "ADD TO CART" on the main listing page. Do this for all of your selections and then go to your cart to checkout. Your combined shipping discount will be computed automatically. 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.
101 Review
by Ned Raggett
As an event, Depeche Mode's huge (attendance around 60,000) Los Angeles Rose Bowl concert in 1988 remains legendary; no single artist show had totally sold out the venue since eight years beforehand, while the film documentary done by Dylan-filmer D.A. Pennebaker based around the show clearly demonstrated fans' intense commitment to a near-decade-old band most mainstream critics continued to stupidly portray as a flash-in-the-pan synth pop effort. This start-to-final-encore record of the concert showcases a band perfectly able to carry its music from studio to stage as well as any other combo worth its salt should be able to do. Understandably focused on Music for the Masses material, the album shows Depeche experimenting with alternate arrangements at various points for live performance; big numbers like "Never Let Me Down Again," "Stripped," and "Blasphemous Rumors" pack even more of a wallop here. Slower numbers and more than a couple of ballads help to vary the hit-packed set, including a fine "Somebody" and "The Things You Said" combination sung by Martin Gore. "Pleasure Little Treasure," on record an okay B-side, becomes a monster rocker live, the type of unexpected surprise one could expect from a solid band no matter what the music. With a triumphant set of closing numbers, including magnificent takes on "Never Let Me Down Again," "Master and Servant," and the set-ending "Everything Counts," with what sounds like the entire audience singing the chorus well after the song has finally ended, 101 does far better at its task than most might have guessed.
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