Sold Date: May 25, 2021
Start Date: May 18, 2021
Final Price: $58.99 (USD)
Seller Feedback: 36321
Buyer Feedback: 4

Sound clips are not from the actual item for sale - they are provided for customers to investigate the music contained on the record.

1974 - Whatever Gets You Thru The Night [Original Video] - John Lennon \u0026 Elton John

Video will open in a new window
Using the eBay App? Paste link into a browser window:

  John Lennon ‎– Walls And Bridges Label: Apple Records ‎– SW-3416 Format: Vinyl, LP, Album, Jacksonville  Country: US Released: 26 Sep 1974 Genre: Rock Style: Folk Rock, Pop Rock Tracklist Hide Credits A1Going Down On Love Electric Piano – Ken Ascher Featuring – Little Big Horns* Guitar – Dr. Winston O'Ghurkin Horns – Bobby Keys, Frank Vicari, Howard Johnson (3), Ron Aprea, Steve Madaio Piano – Nicky Hopkins 3:53 A2Whatever Gets You Thru The Night Clavinet – Ken Ascher Guitar – Hon. John St. John Johnson Organ, Piano, Harmony Vocals – Elton John Tenor Saxophone – Bobby Keys 3:24 A3Old Dirt Road Backing Vocals, Words By – Harry Nilsson Electric Piano – Ken Ascher Piano – Nicky Hopkins, Rev. Thumbs Ghurkin 4:10 A4What You Got Clavinet – Ken Ascher Featuring – Little Big Horns* Guitar – Kaptain Kundalini Piano – Nicky Hopkins 3:06 A5Bless You Acoustic Guitar – Rev. Fred Ghurkin Electric Piano, Mellotron – Ken Ascher 4:39 A6Scared Baritone Saxophone – Howard Johnson (3) Electric Piano – Ken Ascher Featuring – Little Big Horns* Piano – Mel Torment, Nicky Hopkins 4:37 B1#9 Dream Acoustic Guitar – Dr. Dream (2) Backing Vocals – Joey Dambra, John Lennon, Lori Burton, May Pang Clavinet – Ken Ascher Electric Piano – Nicky Hopkins Featuring – The 44th Street Fairies 4:44 B2Surprise, Surprise (Sweet Bird Of Paradox) Clavinet – Ken Ascher Featuring – Little Big Horns* Featuring [Added Attraction] – Lolly And Stan Harmony Vocals – Elton John Piano – Nicky Hopkins 2:33 B3Steel And Glass Acoustic Guitar – Dr. Winston O'Reggae Clavinet – Ken Ascher Featuring – Little Big Horns* Piano – Nicky Hopkins 4:35 B4Beef Jerky Featuring – Little Big Horns* Guitar – Dr. Winston And Booker Table And The Maitre d's 3:25 B5Nobody Loves You (When You're Down And Out) Acoustic Guitar – Dwarf McDougal Featuring – Little Big Horns* Organ – Ken Ascher Piano – Nicky Hopkins 5:07 B6Ya Ya Drums – Julian Lennon Piano – John Lennon Written-By – Robinson*, Lewis*, Dorsey* 1:06 Companies, etc. Phonographic Copyright (p) – EMI Records Ltd. Manufactured By – Apple Records, Inc. Recorded At – Record Plant, N.Y.C. Mastered At – Master Cutting Room Mastered At – Record Plant, N.Y.C. Lacquer Cut At – Master Cutting Room Pressed By – Capitol Records Pressing Plant, Jacksonville Published By – Lennon Music Published By – ATV Music Corp. Published By – Blackwood Music Inc. Published By – Frost Music Corp. Published By – Jonware Music Corp. Credits Acoustic Guitar – Eddie Mottau (tracks: A1 to B3)  Art Direction, Design – Roy Kohara Bass – Klaus Voormann (tracks: A1 to B5)  Conductor, Orchestrated By – Ken Ascher Coordinator [Production] – May Pang Drums – Jim Keltner (tracks: A1 to B5)  Engineer – Shelly "I Can't Take The Pressure" Yakus*  Engineer [Over-dubs] – Jimmy "What It Is" Iovine*  Engineer [Strings], Remix – Roy "I Only Like Singles" Cicala*  Guitar – Jesse Ed Davis (tracks: A1 to B5)  Liner Notes [Extract From The Book Entitled 'Irish Families, Their Names, Arms And Origins'] – Edward Maclysaght Mastered By – Gregg Calbi*, Tom Rabstnek*  Music By – John Lennon (tracks: A1 to B5)  Percussion – Arthur Jenkins (tracks: A1, A2, A4 to B4)  Photography By – Bob Gruen Producer [With] – Little Big Horns*, The Philharmanic Orchestrange, Plastic Nuclear Ono Band*  Producer, Arranged By – John Lennon Words By – John Lennon (tracks: A1 to B5)  Notes Early Jacksonville pressing, green Apple with "Mfd. By Apple Records, Inc." at bottom perimeter on Side 1 only. Side 1/Side 2 text is in upper and lower case font at the left, "Stereo" is not stated on labels. Issued with a custom gate-fold cover with two, 2-sided 4" x 12" flaps that reveal Johns childhood drawing, and can be used to flip over and create different images of John's face on the back.  Also comes with custom posterboard inner sleeve with more images, and an 8-page lyrics/photo booklet. Pressed at Capitol's Jacksonville factory, as idenitifed by 0 stamped in the run-outs.  

USA FIRST PRESSING VINYL ALBUM IN DIE CUT SLEEVE WITH BOOKLET AND ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. PRICE STICKER MARK TOP FRONT RIGHT. BOOKLET AND INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

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