Sold Date:
October 25, 2021
Start Date:
October 24, 2021
Final Price:
$89.99
(USD)
Seller Feedback:
1524
Buyer Feedback:
0
Vinyl: VG+ Play Graded. Sounds Great! Rolling Stones Labels are Clean and Bright. This is the Original 1971 Rolling Stones Records 1st Pressing! COC 59100. The definitive version, Pressed at Monarch Records Mfg. Corp., Los Angeles, CA!! Pressings from Monarch make it sound like you're in the room. Hot Stones licks from their legendary middle period of Classic Rock Albums...Plays like a "Best Of" collection, each one study in decadence, blues and Rock 'N Roll...Sway, I Got The Blues, Sister Morphine and Dead Flowers rival the blockbuster bona fides: Wild Horses, Brown Sugar and Bitch... Instant Party! 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: ST-RS-712189BB MR ((Monarch Records Mfg. Corp., Los Angeles, CA)) "delta" 15943 (3) PR ((Lacquer parts by Presswell Records, Ancora, NJ)) Rolling Stones Records
Side
1: ST-RS-712190AA MR ((Monarch Records Mfg. Corp., Los Angeles,
CA)) "delta" 15943-X (4) Rolling Stones Records
Cover: VG++ (see photos) Includes the photo/credits inner sleeve. The infamous cover, with fully functional zipper!! Designed by and photographed by Andy Warhol, this is perhaps one of the least expensive Warhol prints available!!! The Die-Cut nature of the cover also allows you to unhitch the belt and check on what's inside James Dellasandro's pants(!) It is widely thought that Dellasandro ( a longtime doomed actor of Warhol's) was the model...This is also the very first use of the Rolling Stones tongue graphic which was originally designed by John Pasche...High gloss on cover. Front and back of cover artwork and text are rich, clear and bright, with minimal shelf wear. Seams, corners and spine are solid and clean, with some wear. No splits. No writing. Spine print is readable.
Goldmine Standards. I play grade every record 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. (I also operate a Vinyl Record Cleaning business for your dusty/dirty records--if interested, send me a message).
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.
by Stephen Thomas Erlewine
Pieced together from outtakes and much-labored-over songs, manages to have a loose, ramshackle ambience that belies both its origins and the dark undercurrents of the songs. It's a weary, drug-laden album -- well over half the songs explicitly mention drug use, while the others merely allude to it -- that never fades away, but it barely keeps afloat. Apart from the classic opener, "Brown Sugar" (a gleeful tune about slavery, interracial sex, and lost virginity, not necessarily in that order), the long workout "Can't You Hear Me Knocking" and the mean-spirited "Bitch," is a slow, bluesy affair, with a few country touches thrown in for good measure. The laid-back tone of the album gives ample room for new lead guitarist to stretch out, particularly on the extended coda of "Can't You Hear Me Knocking." But the key to the album isn't the instrumental interplay -- although that is terrific -- it's the utter weariness of the songs. "Wild Horses" is their first non-ironic stab at a country song, and it is a beautiful, heart-tugging masterpiece. Similarly, "I Got the Blues" is a ravished, late-night classic that ranks among their very best blues. "Sister Morphine" is a horrifying overdose tale, and "Moonlight Mile," with 's grandiose strings, is a perfect closure: sad, yearning, drug-addled, and beautiful. With its offhand mixture of decadence, roots music, and outright malevolence, set the tone for the rest of the decade for .