EAGLES S/T EX+ 1972 Asylum SD 5054 w Insert HENLEY FREY Take It Easy PRESSWELL

$

23

Vinyl:  EX+ Play Graded. Sounds Great!   Asylum Photo Labels are Clean.   This is the 1972 Asylum Release!  SD 5054.   This is the audiophile acclaimed pressing, Mastered at The Mastering Lab, Los Angeles, CA.  Produced and Engineered by Glyn Johns, who worked with The Beatles and The Stones in this era...   Classic Rock from one of Classic Rock's leading edges.  One of the Great Debuts in Rock History, Henley, Frey, Leadon & Meisner, with help from their friends Linda Ronstadt and Jackson Browne help get them there.  Monster hits "Take It Easy" and "Peaceful Easy Feeling", among other stone gems!    See Review Below!
In the Dead Wax:  Side 1:  ST-AS-722515-E    Ht   SIDE 1   PR  ((Philips Recording Corp).  On the Label:  Matrices and PR  ((Presswell Record Mfg. Co., Ancora, NJ)) Side 2:   ST-AS-722516-D   SIDE 2   PR  ((Philips Recording Corp).  On the Label:  Matrices and PR  ((Presswell Record Mfg. Co., Ancora, NJ))
Cover:  VG++  (see photos) Includes photo/credits inner sleeve.  No Barcode!
Goldmine Standards.   I play test every album that I sell on eBay as I have found you can't rate an LP accurately by just visually inspecting an album.  I wipe the dust off of every cover with clean, unscented baby wipes.  I professionally clean the vinyl.

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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.     

AllMusic Review by William Ruhlmann  [-]

Balance is the key element of the Eagles' self-titled debut album, a collection that contains elements of rock & roll, folk, and country, overlaid by vocal harmonies alternately suggestive of doo wop, the Beach Boys, and the Everly Brothers. If the group kicks up its heels on rockers like "Chug All Night," "Nightingale," and "Tryin'," it is equally convincing on ballads like "Most of Us Are Sad" and "Train Leaves Here This Morning." The album is also balanced among its members, who trade off on lead vocal chores and divide the songwriting such that Glenn Frey, Bernie Leadon, and Randy Meisner all get three writing or co-writing credits. (Fourth member Don Henley, with only one co-writing credit and two lead vocals, falls a little behind, while Jackson Browne, Gene Clark, and Jack Tempchin also figure in the writing credits.) The album's overall balance is worth keeping in mind because it produced three Top 40 hit singles (all of which turned up on the massively popular Eagles: Their Greatest Hits 1971-1975) that do not reflect that balance. "Take It Easy" and "Peaceful Easy Feeling" are similar-sounding mid-tempo folk-rock tunes sung by Frey that express the same sort of laid-back philosophy, as indicated by the word "easy" in both titles, while "Witchy Woman," a Henley vocal and co-composition, initiates the band's career-long examination of supernaturally evil females. These are the songs one remembers from Eagles, and they look forward to the eventual dominance of the band by Frey and Henley. But the complete album from which they come belongs as much to Leadon's country-steeped playing and singing and to Meisner's melodic rock & roll feel, which, on the release date, made it seem a more varied and consistent effort than it did later, when the singles had become overly familiar.