PAUL McCARTNEY Ram NM Columbia 1ST PRESS 1C/1D PROMO THE BEATLES
$
110
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Description
Vinyl: NM TOP COPY! Appears to have never been played!! Columbia Labels are Clean and Bright. This is the PROMO 1980 Columbia 1ST PRESSING! JC 36479. Originally released in 1971, Paul had recently switched to Columbia and thus, this is Columbia's 1ST Pressing, as evidenced by the matrix numbers 1C/1D. Being a 1st Press Promo you get a Hot Stamper guaranteed, that together with it being a TOP COPY condition-wise, you may find it hard to find a better copy anywhere.
Arguably one of Paul's top 5 LPs, this one presaging the DIY phenom by at least 10 years! Homemade grooves and riffs and hooks a-plenty, like the mini suite Uncle Albert/Admiral Halsey, Eat At Home (a John Lennon fave), Ram On and the super wild Monkberry Moon Delight!! Dig deep for little jibes at The Beatles on 3 Legs and Too Many People. allmusic gives it 5 stars!!!
See Review Below!
In the Dead Wax: Side 1: PAL 36479-1D
Side 2: PBL 36479-1C
Cover: NM (see photos) Gatefold. PROMO stamp on rear cover. Nice high gloss on cover. Front and back of cover artwork and text are rich, clear and bright, essentially flawless. Seams, corners and spine are solid and clean, with just a couple tiny tiny abrasions. No splits. No writing. Spine print is crystal clear.
See my other listings for other Beatles & Related items. I also have a treasure trove of Beatles LPs, 45s and memorabilia yet to be listed. Let me know what you're looking for. You can also click on "Save This Seller" and you'll be among the first to be notified when I post new listings.
Goldmine Standards. I play grade every record that I sell on eBay as I have found you can't rate a record accurately by just visually inspecting it. I wipe the dust off of every cover with clean, unscented baby wipes. I professionally clean the vinyl. (I also operate a Vinyl Record Cleaning business for your dusty/dirty records--if interested, send me a message).
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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.
AllMusic Review by Stephen Thomas Erlewine [-]
After the breakup, Beatles fans expected major statements from the three chief songwriters in the Fab Four. John and George fulfilled those expectations -- Lennon with his lacerating, confessional John Lennon/Plastic Ono Band, Harrison with his triple-LP All Things Must Pass -- but Paul McCartney certainly didn't, turning toward the modest charms of McCartney, and then crediting his wife Linda as a full-fledged collaborator on its 1971 follow-up, Ram. Where McCartney was homemade, sounding deliberately ragged in parts, Ram had a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paul holding the ram by the horns was taken. It's filled with songs that feel tossed off, filled with songs that are cheerfully, incessantly melodic; it turns the monumental symphonic sweep of Abbey Road into a cheeky slice of whimsy on the two-part suite "Uncle Albert/Admiral Halsey." All this made Ram an object of scorn and derision upon its release (and for years afterward, in fact), but in retrospect it looks like nothing so much as the first indie pop album, a record that celebrates small pleasures with big melodies, a record that's guileless and unembarrassed to be cutesy. But McCartney never was quite the sap of his reputation, and even here, on possibly his most precious record, there's some ripping rock & roll in the mock-apocalyptic goof "Monkberry Moon Delight," the joyfully noisy "Smile Away," where his feet can be smelled a mile away, and "Eat at Home," a rollicking, winking sex song. All three of these are songs filled with good humor, and their foundation in old-time rock & roll makes it easy to overlook how inventive these productions are, but on the more obviously tuneful and gentle numbers -- the ones that are more quintessentially McCartney-esque -- it's plain to see how imaginative and gorgeous the arrangements are, especially on the sad, soaring finale, "Back Seat of My Car," but even on its humble opposite, the sweet "Heart of the Country." These songs may not be self-styled major statements, but they are endearing and enduring, as is Ram itself, which seems like a more unique, exquisite pleasure with each passing year.
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