ROLLING STONES Let It Bleed VG/VG+ 1970 London NPS-4 1ST PRESS Gimme Shelter
$
20
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Description
Vinyl: VG/VG+ Play Graded. Sounds Great with some soft vinyl crackle especially in softer passages. Turn It Up! London labels are Clean. This is the 1970 London 1st Pressing! NPS-4. Arguably, The Rolling Stones' Finest Hour! Plays like a Greatest Hits package, dynamic and full of Menace at the height of their Messianic phase...this is the one that gave rise to Gimme Shelter, Altamont, and the film Gimme Shelter. This record was released just after their infamous 1969 Winter Tour that gave an epic end to the 1960s...here's the soundtrack to the end of the '60s. One of Rolling Stone's 500 greatest Albums of All Time!!! all music gives it 5 stars!!!
See Review Below!
In the Dead Wax: Side 1: XZAL-9363-2 a "w" with a circle around it.
Side 2: XZAL-9364-2 a "w" with a circle around it.
Cover: VG/VG+ (see photos)
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 Richie Unterberger [-]
Mostly recorded without Brian Jones -- who died several months before its release (although he does play on two tracks) and was replaced by Mick Taylor (who also plays on just two songs) -- this extends the rock and blues feel of Beggars Banquet into slightly harder-rocking, more demonically sexual territory. The Stones were never as consistent on album as their main rivals, the Beatles, and Let It Bleed suffers from some rather perfunctory tracks, like "Monkey Man" and a countrified remake of the classic "Honky Tonk Woman" (here titled "Country Honk"). Yet some of the songs are among their very best, especially "Gimme Shelter," with its shimmering guitar lines and apocalyptic lyrics; the harmonica-driven "Midnight Rambler"; the druggy party ambience of the title track; and the stunning "You Can't Always Get What You Want," which was the Stones' "Hey Jude" of sorts, with its epic structure, horns, philosophical lyrics, and swelling choral vocals. "You Got the Silver" (Keith Richards' first lead vocal) and Robert Johnson's "Love in Vain," by contrast, were as close to the roots of acoustic down-home blues as the Stones ever got.
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