Vinyl:  VG/VG+ Play Tested. Sounds Great with some soft vinyl crackle.    Warner Brothers Labels are Clean.  This is the 1972 Warner Brothers Release.  BS 2602.   The Embodiment of Heavy Metal, with the overpowering Volume, Sludgy attack and Fantasy/Phantasmogorical Lyrics that define the genre...allmusic gives it 5 stars!!   See Review Below!
In the Dead wax:   Side One:  BS 2602   40109-1-1   T1, for the Terre Haute, IN Pressing Plant. Side Two:    BS 2602    40110-1-2  T1
Cover: VG/VG+ (see photos) Includes the full-color booklet.  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.
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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 Steve Huey 

 is the point in 's career where the band's legendary drug consumption really starts to make itself felt. And it isn't just in the lyrics, most of which are about the blurry line between reality and illusion.  has all the messiness of a heavy metal , and if it lacks that album's overall diversity, it does find  at their most musically varied, pushing to experiment amidst the drug-addled murk. As a result, there are some puzzling choices made here (not least of which is the inclusion of "FX"), and the album often contradicts itself. 's wail is becoming more powerful here, taking greater independence from 's guitar riffs, yet his vocals are processed into a nearly textural element on much of side two. Parts of  are as ultra-heavy as , yet the band also takes its most blatant shots at accessibility to date -- and then undercuts that very intent. The effectively concise "Tomorrow's Dream" has a chorus that could almost be called radio-ready, were it not for the fact that it only appears once in the entire song. "St. Vitus Dance" is surprisingly upbeat, yet the distant-sounding vocals don't really register. The notorious piano-and-Mellotron ballad "Changes" ultimately fails not because of its change-of-pace mood, but more for a raft of the most horrendously clichéd rhymes this side of "moon-June." Even the crushing "Supernaut" -- perhaps the heaviest single track in the  catalog -- sticks a funky, almost danceable acoustic breakdown smack in the middle. Besides "Supernaut," the core of  lies in the midtempo cocaine ode "Snowblind," which was originally slated to be the album's title track until the record company got cold feet, and the multi-sectioned prog-leaning opener, "Wheels of Confusion." The latter is one of 's most complex and impressive compositions, varying not only riffs but textures throughout its eight minutes. Many doom and stoner metal aficionados prize the second side of the album, where 's vocals gradually fade further and further away into the murk, and 's guitar assumes center stage. The underrated "Cornucopia" strikes a better balance of those elements, but by the time "Under the Sun" closes the album, the lyrics are mostly lost under a mountain of memorable, contrasting riffery. Add all of this up, and  is a less cohesive effort than its two immediate predecessors, but is all the more fascinating for it. Die-hard fans sick of the standards come here next, and some end up counting this as their favorite  record for its eccentricities and for its embodiment of the band's excesses.