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Roger Waters ‎– The Pros And Cons Of Hitch Hiking Label: Columbia ‎– FC 39290, Columbia ‎– 39290 Format: Vinyl, LP, Album, Pitman Pressing  Country: US Released: 1984 Genre: Rock Style: Art Rock, Prog Rock Tracklist Hide Credits (Parts 1-6) A14:30 AM (Apparently They Were Travelling Abroad) A24:33 AM (Running Shoes) A34:37 AM (Arabs With Knives And West German Skies) A44:39 AM (For The First Time Today, Part 2) A54:41 AM (Sexual Revolution) A64:47 AM (The Remains Of Our Love) (Parts 7-12) B14:50 AM (Go Fishing) Text By – A.A. Milne* B24:56 AM (For The First Time Today, Part 1) B34:58 AM (Dunroamin, Duncarin, Dunlivin) B45:01 AM (The Pros And Cons Of Hitch Hiking Part 10) B55:06 AM (Every Strangers Eyes) B65:11 AM (The Moment Of Clarity) Companies, etc. Copyright (c) – CBS Inc. Phonographic Copyright (p) – CBS Inc. Manufactured By – Columbia Records Manufactured By – CBS Inc. Recorded At – Olympic Studios Recorded At – Eel Pie Studios Recorded At – The Billiard Room Mastered At – The Mastering Lab Mastered At – Customatrix Published By – Pink Floyd Music Publishers Ltd. Published By – Unichappell Music, Inc. Copyright (c) – Pink Floyd Music Publishers Ltd. Copyright (c) – E.P. Dutton & Co., Inc. Copyright (c) – Alan Alexander Milne Pressed By – Columbia Records Pressing Plant, Pitman Credits Art Direction [Co-ordination] – The Artful Dodgers Backing Vocals – Doreen Chanter, Katie Kissoon, Madeline Bell Composed By – Roger Waters Conductor [Conducted By], Arranged By – Michael Kamen Drums – Andy Newmark Effects [SFX Boffin] – Michael King (8) Engineer – Andy Jackson Engineer [Assistant] – Laura Boisan Horns – Kevin Flanagan, Raphael Ravenscroft, Vic Sullivan Illustration [Illustrations], Typography [Lettering] – Gerald Scarfe Lead Guitar – Eric Clapton Mastered By – Doug Sax, Mike Reese Orchestra – The National Philharmonic Orchestra*  Percussion – Ray Cooper Photography By – Alex Henderson (5) Piano – Michael Kamen Producer – Michael Kamen, Roger Waters Recorded By [Holophonics By] – Zuccarelli Labs Ltd Rhythm Guitar [Rhythm], Bass Guitar, Vocals – Roger Waters Saxophone – David Sanborn Sleeve [Sleeve Design] – Gerald Scarfe, Roger Waters Twelve-String Guitar, Organ [Hammond Organ] – Andy Bown Voice Actor [Hells Angel's Girlfriend] – Madeline Bell Voice Actor [Hells Angel] – Jack Palance Voice Actor [Hitch Hiker], Voice Actor [Waitress] – Cherry Vanilla Voice Actor [Man] – Roger Waters Voice Actor [Truck Driver] – Ed Bishop, Manning Redwood Voice Actor [Welshman In Operating Theatre] – Andy Quigley Voice Actor [Wife] – Beth Porter Written-By – Roger Waters Notes Catalog number FC 39290 is shown on the spine and labels. 39290 is shown on the bottom right-hand corner of the back of the inner sleeve. Columbia Records Pressing Plant, Pitman pressing, as indicated by "P" in runouts. Track B4 is rendered as "5.01 AM. (The Pros and Cons of Hitch Hiking Part 10)" on the label and as "5.01 AM (The Pros and Cons of Hitchhiking)" on the inner sleeve. [Back cover] Recorded in England at Olympic, Eel Pie & The Billiard Room between Feb & Dec 1983 Mastered by Doug Sax & Mike Reese at the Mastering Lab Los Angeles Thanks to Dave Christopher & Celestia Fox This album is dedicated to Carolyne Eric Clapton and David Sanborn appear courtesy of Warner Bros. Records Inc. © 1984 CBS Inc./℗ 1984 CBS Inc./Manufactured by Columbia Records/CBS Inc./51 W 52 Street, New York, N.Y./"Columbia," and [Columbia logo] are trademarks of CBS Inc. Also On Cassette [Inner Sleeve] Copyright ©1984 by Pink Floyd Music Publishers Ltd., London Published and administrated in the U.S.A. by Unichappell Music, Inc. (BMI) International Copyright Secured. All Rights Reserved. Used by Permission. *Text by A.A. Milne copyright under the Berne Convention, copyright in the United States 1926 by E. P. Dutton and Co. Inc, copyright renewal 1954 by A.A. Milne. 39290 ©1984 CBS Inc. [Labels] © 1984 CBS Inc. ℗ 1984 CBS Inc. All tracks Pink Floyd Music Publishers Ltd., London/Unichappell Music, Inc. (BMI) ® "Columbia," [Columbia logo]/Marcas Reg. Printed in U.S.A.  

USA REAR PROM STAMPED FIRST PRESSING IN UNCENSORED SLEEVE WITH ORIGINAL PRINTED INNER SLEEVE. Also included is a Martin Guitar advert with Waters from Guitar World magazine, 2013.  This was not with the orignal LP but makes a nice addition.

MATRIX:  SIDE A:  P o PAL392901D TML-X  A /  SIDE B: P o PBL39290 1D 1 TML-X.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.  REAR PROMO STAMP.  INNER SLEEVE HAS MIDDLE SEAM SPLITS.

DISC: EXCELLENT MINUS. NO MARKS OR SCRATCHES, JUST A COUPLE OF EDGE FINGERPRINTS.  DISC DOES NOT LOOK PLAYED MORE THAN ONCE OR TWICE. 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.