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Donald Fagen – The Nightfly Label:Warner Bros. Records – 923696-1, Warner Bros. Records – 1-23696 Format: Vinyl, LP, Album Country:UK Released:1982 Genre:Jazz, Rock Style:Fusion, Pop Rock, Classic Rock Tracklist Hide Credits A1I.G.Y. (International Geophysical Year) Composed By, Arranged By – Donald Fagen Composed By, Arranged By – Donald Fagen 6:05 A2Green Flower Street Composed By, Arranged By – Donald Fagen Composed By, Arranged By – Donald Fagen 3:40 A3Ruby Baby Arranged By – Donald Fagen Composed By – Jerry Leiber, Mike Stoller* Arranged By – Donald Fagen Composed By – Jerry Leiber, Mike Stoller* 5:38 A4Maxine Composed By, Arranged By – Donald Fagen Composed By, Arranged By – Donald Fagen 3:50 B1New Frontier Composed By, Arranged By – Donald Fagen Composed By, Arranged By – Donald Fagen 6:23 B2The Nightfly Composed By, Arranged By – Donald Fagen Composed By, Arranged By – Donald Fagen 5:50 B3The Goodbye Look Composed By, Arranged By – Donald Fagen Composed By, Arranged By – Donald Fagen 4:47 B4Walk Between Raindrops Composed By, Arranged By – Donald Fagen Composed By, Arranged By – Donald Fagen 2:38 Companies, etc. Mastered At – Masterdisk Recorded At – The Village Recorder Recorded At – Automated Sound Studios Phonographic Copyright ℗ – WEA International Inc. Distributed By – WEA Records Ltd. Credits Arranged By [Horns] – Rob Mounsey Backing Vocals – Daniel Lazerus (tracks: A2), Frank Floyd (tracks: A1, A2, B2), Gordon Grody (tracks: A1), Leslie Miller (tracks: B4), Starz Vanderlocket (tracks: B1), Valerie Simpson (tracks: A1, A2, A3, B2, B3), Zack Sanders* (tracks: A1, A2, B2) Bass – Abraham Laboriel (tracks: B1), Anthony Jackson (tracks: A1, A3), Chuck Rainey (tracks: A2), Marcus Miller (tracks: A4, B2, B3), Will Lee (tracks: B4) Drums – Ed Green* (tracks: A4, B1), James Gadson (tracks: A1, A3), Jeff Porcaro (tracks: A1, A2, A3, B2, B3), Steve Jordan (tracks: B4) Euphonium – Dave Bargeron (tracks: A4) Flugelhorn – Randy Brecker (tracks: A3, A4) Guitar – Dean Parks (tracks: A2, B3), Hugh McCracken (tracks: A1, A3, B2), Larry Carlton (tracks: A2, A3, A4, B1, B2, B3, B4), Rick Derringer (tracks: A2, B2), Steve Khan (tracks: B3) Harmonica – Hugh McCracken (tracks: B1) Lacquer Cut By – RL* Mastered By [Original Mastering, Masterdisc N Y C] – Bob Ludwig Percussion – Roger Nichols (tracks: A1), Starz Vanderlocket (tracks: A1, A2, B1, B3) Percussion [Sequencing, Special Effect & Wendel I I] – Roger Nichols Piano – Greg Phillinganes (tracks: A1, A2, A3, A4, B3), Michael Omartian (tracks: A3, B1, B2) Producer – Gary Katz Saxophone – Dave Tofani (tracks: A1, A4), Michael Brecker (tracks: A1, A3, A4), Ronnie Cuber (tracks: A1, A4) Synth [Synth Blues Harp] – Donald Fagen (tracks: A1) Synthesizer – Greg Phillinganes (tracks: B3, B4), Rob Mounsey (tracks: A1, A2, b2) Trombone – Dave Bargeron (tracks: A1) Trumpet – Randy Brecker (tracks: A1, A3) Notes UK first pressing. Includes lyric insert.

UK FIRST PRESSING VINYL ALBUM WITH INSERT AND ORIGINAL POLY-LINED INNER SLEEVE.

MATRIX: W-3696 A-SH-1 MASTERDISK RL + + AM SLM △2607 W-14KD [Allied "ɑ" logo] B-17196-SH1 / W-3696 B-SH3 SM1 MASTERDISK RL  3 AM + W-9 SLM △2607-X

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

DISC: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW VERY 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, the music tends to sound more ‘alive’ and vibrant and you 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.