Sold Date: July 15, 2020
Start Date: June 27, 2020
Final Price: $22.99 (USD)
Seller Feedback: 1306
Buyer Feedback: 54

Vinyl:  VG Play Graded. Sounds Very Good!!!   Verve Labels are Clean. This is the Original 1966 Verve 2 LP 1st Pressing! V6-5005-2.  This is the stereo version.  Frank's debut is one of the most innovative in Rock history or in the history of music for that matter!  Deconstructing everything from Too-Wop to Pop and back again, it still delivers in the 21st Century!  Frank would go on and develop the concepts he created with this album, far into his career. allmusic gives it 5 stars!!!     See Review Below!
In the dead wax:  Side 1:  V-6-5005-2  Side-1 MGS-296   Side 2:  V6-5005-2  Side-2  MGS-297-REV  
Side 3:  V6-5005-2  Side-3  MGS-298-REV Side 4:  V6-5005-2  Side-4  MGS-299-REV
Cover: VG/VG+ (see photos)  Gatefold.
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.
U.S. Shipping:  $4.50 Media Mail.  50 cents additional shipping per additional album, when the shipment is combined.   If you wish to take advantage of my COMBINED SHIPPING deal, simply select your records by clicking on "ADD TO CART" on the main listing page.  Do this for all of your selections and then go to your cart to checkout.  Your combined shipping discount will be computed automatically.  Free domestic shipping if you spend $100 or more!  
I ship internationally through EBay's Global Shipping Program.  Check to be sure that they ship to your country. Feel free to ask any questions and happy shopping! 
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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.   

One of the most ambitious debuts in rock history,  was a seminal concept album that somehow foreshadowed both art rock and punk at the same time. Its four LP sides deconstruct rock conventions right and left, eventually pushing into territory inspired by avant-garde classical composers. Yet the album is sequenced in an accessibly logical progression; the first half is dedicated to catchy, satirical pop/rock songs that question assumptions about pop music, setting the tone for the radical new directions of the second half. Opening with the nonconformist call to arms "Hungry Freaks, Daddy,"  quickly posits  as the antithesis of teen-idol bands, often with sneering mockeries of the teen-romance songs that had long been rock's commercial stock-in-trade. Despite his genuine emotional alienation and dissatisfaction with pop conventions, though,  was actually a skilled pop composer; even with the raw performances and his stinging guitar work, there's a subtle sophistication apparent in his unorthodox arrangements and tight, unpredictable melodicism. After returning to social criticism on the first song of the second half, the perceptive Watts riot protest "Trouble Every Day,"  exchanges pop song structure for experiments with musique concrète, amelodic dissonance, shifting time signatures, and studio effects. It's the first salvo in his career-long project of synthesizing popular and art music, high and low culture; while these pieces can meander, they virtually explode the limits of what can appear on a rock album, and effectively illustrate 's underlying principles: acceptance of differences and free individual expression. would spend much of his career developing and exploring ideas -- both musical and conceptual -- first put forth here; while his myriad directions often produced more sophisticated work,  contains at least the rudiments of almost everything that followed, and few of 's records can match its excitement over its own sense of possibility.