WALKER BROTHERS, Portrait [w/insert] MONO UK 1st presssing EXC- LP Scott Walker
  $   46

 


$ 46 Sold For
May 19, 2026 Sold Date
Mar 18, 2026 Start Date
1 Number Of Bids
  USA Country Of Seller
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Description

The Walker Brothers ‎– Portrait Label: Philips ‎– BL.7732, Philips ‎– BL7732, Philips ‎– B 14574 L, Philips ‎– 7732 Format: Vinyl, LP, Album, Mono  Country: UK Released: 1966 Genre: Jazz, Rock, Pop Style: Folk Rock, Rhythm & Blues, Pop Rock, Soul, Vocal Tracklist Hide Credits A1 In My Room Directed By – Reg Guest Written-By – Prieto*, Pockriss*, Vance* A2 Saturday's Child Directed By – Reg Guest Written-By – Engel* A3 Just For A Thrill Directed By – Reg Guest Written-By – Raye*, Armstrong* A4 Hurting Each Other Directed By – Ivor Raymonde Written-By – Geld*, Udell* A5 Old Folks Directed By – Reg Guest Written-By – Hill*, Robison* A6 Summertime Directed By – Reg Guest Written-By – Heyward*, G. Gershwin*, I. Gershwin* B1 People Get Ready Directed By – Reg Guest Written-By – Mayfield* B2 I Can See It Now Directed By – Reg Guest Written-By – Franz*, Engel* B3 Where's The Girl Directed By – Ivor Raymonde Written-By – Leiber & Stoller B4 Living Above Your Head Directed By – Reg Guest Written-By – Black*, Vance*, Sanders* B5 Take It Like A Man Directed By – Ivor Raymonde Written-By – Leiber & Stoller B6 No Sad Songs For Me Directed By – Reg Guest Written-By – Springfield* Companies, etc. Lacquer Cut At – Philips Records Ltd. Pressed By – Philips Records Ltd. Published By – Robbins Published By – Flamingo Music Published By – Leeds Music Published By – Bron Music Published By – B. Feldman & Co. Published By – Chappell & Co. Published By – Ivan Mogull Music Published By – Belinda (London) Ltd. Published By – Red Blood Music Published By – A. Schroeder Music Published By – Springfield Music Credits Liner Notes – Keith Altham Performer – Gary*, John*, Scott*  Photography By – Dezo Hoffman*  Producer – John Franz Notes Issued in a flipback cover laminated at the front; initial quantities included a black & white print of the cover image with printed autographs. 

UK MONO FIRST PRESSING VINYL ALBUM ON TEXTURED LABEL IN FRONT LAMINATED FLIP-BACK SLEEVE WITH INSERT AND ORIGINAL POLY-LINED INNER SLEEVE.

MATRIX:  SIDE A: 14574 1L//2▽ 420 1 1; SIDE B: 14574 2 L ▽ 1 420 1 1. The absolute first mothers/stampers for this pressing.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. MINOR EDGE NICKS AND CORNER BUMPS.  INSERT EXCELLENT MIUS. INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISC: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW VERY LIGHT HAIRLINES. THIS IS THE CLEANEST MONO COPY WE HAVE SEEN IN DECADES, IT LOOKS PLAYED ONCE OR TWICE, IF THAT.  IT WILL BE A SIGNIFICANT UPGRADE FOR MOST SCOTT WALKER FANS. CLEAN LABELS.

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.  



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