Sold Date: September 24, 2020
Start Date: August 27, 2020
Final Price: $24.99 (USD)
Seller Feedback: 35858
Buyer Feedback: 1

Laurie Anderson ‎– Big Science Label: Warner Bros. Records ‎– BSK 3674 Format: Vinyl, LP, Album, Winchester Pressing  Country: US Released: 1982 Genre: Electronic, Rock, Pop Style: Art Rock, Experimental, New Age Tracklist Hide Credits A1From The Air Alto Saxophone – Bill Obrecht Clarinet, Tenor Saxophone – Peter Gordon Drums – David Van Tieghem Pedalboard [Farfisa Bass] – Roma Baran Vocals, Vocoder, Organ [Farfisa] – Laurie Anderson 4:29 A2Big Science Glass Harmonica – Roma Baran Percussion [Bottles] – Perry Hoberman Percussion [Sticks] – Anderson*, Hoberman*, Baran* Rototoms, Timpani [Tympani] – David Van Tieghem Vocals, Synthesizer [OBXa], Percussion, Electronics – Laurie Anderson 6:14 A3Sweaters Bagpipes – Rufus Harley Drums – David Van Tieghem Vocals, Violin [Violins] – Laurie Anderson 2:18 A4Walking & Falling Vocals, Electronics – Laurie Anderson 2:10 A5Born, Never Asked Handclaps – Anderson*, Hoberman*, Baran* Marimba – David Van Tieghem Vocals, Violin [Violins], Keyboards – Laurie Anderson 4:56 B1O Superman (For Massenet) Flute, Saxophone – Perry Hoberman Mastered By – Bill Kipper Organ [Farfisa], Keyboards [Casio], Engineer – Roma Baran Vocals, Vocoder, Electronics – Laurie Anderson 8:21 B2Example #22 Accordion – Roma Baran Alto Saxophone, Tenor Saxophone – Chuck Fisher Backing Vocals – Ungar*, Hoberman* Clarinet [B & E], Bass Clarinet, Bassoon, Baritone Saxophone – Richard Cohen Flute, Piccolo Flute – Perry Hoberman Percussion, Drums – David Van Tieghem Vocals, Violin, Organ [Farfisa] – Laurie Anderson Whistling – Anderson*, Baran* 2:59 B3Let X=X Handclaps – Anderson*, Hoberman*, Baran* Rototoms – David Van Tieghem Trombone – George Lewis Vocals, Vocoder, Organ [Farfisa], Synthesizer [OBXa], Marimba – Laurie Anderson 3:51 B4It Tango Handclaps – Anderson*, Hoberman*, Baran* Rototoms – David Van Tieghem Vocals, Synthesizer [OBXa], Organ [Farfisa], Marimba – Laurie Anderson 3:01 Companies, etc. Phonographic Copyright (p) – Warner Bros. Records Inc. Copyright (c) – Warner Bros. Records Inc. Phonographic Copyright (p) – WEA International Inc. Copyright (c) – WEA International Inc. Pressed By – Capitol Records Pressing Plant, Winchester Published By – Difficult Music Recorded At – The Lobby Recorded At – The Hit Factory Recorded At – Sorcerer Sound Recorded At – Skyline Studios Mixed At – The Hit Factory Mixed At – The Lobby Mastered At – Masterdisk Credits Art Direction – Perry Hoberman Design – Cindy Brown (3) Engineer – Leanne Ungar Engineer [Assistant, Skyline Studios] – Arthur Payson Engineer [Assistant, Sorcerer Sound] – Al Fierstein*  Engineer [Assistant, The Hit Factory] – Bob Musso*  Mastered By – Bob Ludwig Mixed By [Assistant, The Hit Factory] – Jon Smith (3) Photography By [Back Cover] – James Hamilton (5) Photography By [Front Cover] – Greg Shifrin Producer – Roma Baran Producer [Assistant] – Perry Hoberman Producer, Photography By [Inner Sleeve], Written-By, Artwork [Cover] – Laurie Anderson Technician [Technical Consultant & Systems Design] – Bob Bielecki  

USA FIRST PRESSING VINYL ALBUM WITH ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.   INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISC: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW LIGHT HAIRLINES AND FINGERPRINTS. 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.