Vinyl:  EX+ Play Graded. Sounds Great!  Round Records Custom Picture Labels are Clean. This is the Original 1974 Round Records 1st Pressing!  RX-102.   This is the Definitive version, Mastered at Artisan Sound Recorders of California.  Jerry emerges here with what would become his Jerry Garcia Band.  The JGB gave Garcia a chance to do arrangements of songs in very different ways than The Dead. Some beautiful soundscapes here.   See Review Below!
In the Dead Wax:  the glyph for Artisan Sound Recorders.  
Cover: VG+ (see photos; Hype Sticker on the back cover; notch cut; some ring wear, paper tear on front cover.)  Original Die-Cut Cover.  Comes with the Original Round Records Polylined Inner Sleeve.  Has a few phone numbers written small on the inner sleeve.  
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 Lindsay Planer 

's second solo effort initially bore the same eponymous title as his first. A parenthetical "Compliments Of" was originally featured on promotional copies that bore the words atop the "" moniker. The name was officially changed in the late '80s, when the platter evolved into the CD format, to alleviate any confusion between the two very different recordings. In direct contrast to the 1972 release, the vast majority of the ten tracks on 1974's  are cover versions performed with an ensemble, rather than just by the multi-instrumental artist. Equally distinguishing is that most of the material was not selected by the guitarist, but rather by the project's producer, , who likewise had been 's bassist and primary non- collaborator. Although  would reassert more control over the choice of songs in the future, this album heralds the origins of what would ultimately become . Backed by an A-list cast of studio heavies, covers such as ' "Let's Spend the Night Together" and 's "He Ain't Give You None" come off sounding slightly over-arranged. The converse, however, can be said of 's intimately chilling reading of 's "Mississippi Moon," the slinky irrepressible Motown vibe on ' "The Hunter Gets Captured By the Game," and 's "That's What Love Will Make You Do" -- all of which remained as staples of 's live catalog. Although there aren't very many opportunities for  to unleash the full potential of his formidable fretwork, the reading of 's "Russian Lullaby" -- adapted from Argentinean guitarist 's arrangement -- does allow him to perform some of the disc's most involved and intricately executed guitar work, which he renders on an acoustic classical axe. The solitary original composition, "Midnight Town" from  and lyricist , comes off somewhat uncharacteristically lightweight in deference to the album's otherwise solid effort.