NEIL YOUNG CRAZY HORSE "ZUMA" FIRST PRESSING w/ INNER SLEEVE ~ REPRISE MS 2242
NEIL YOUNG & CRAZY HORSE "ZUMA"
LABEL: REPRISE RECORDS MS 2242
RELEASED: NOVEMBER 10, 1975
U.S. FIRST PRESSING w/ CUSTOM INNER SLEEVE
COVER & SLEEVE ALL ON ROUGH SLIGHTLY 'TEXTURED' PAPER
RECORDED: SUMMER 1975 DAVID BRIGG'S HOUSE ~ POINT DUME, CA
COVER & INNER SLEEVE ART: JIM 'MAZZ' MAZZEO
MASTERING: GEORGE HORN (HIS NAME PRINTED AT TOP OF THE LABELS)
PRESSING PLANT: FIRST PRESSING ~ NO PRESSING PLANT IDENTIFIERS
MATRIX (SIDE A): Etched MS 2242 31966-1H
CONDITION: VINYL: VG+ JACKET: VG+ INNER SLEEVE: EX
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I've been going thru my massive vinyl record collection these past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of collectors.
This week on EBay I am offering up this beautiful, original, First Pressing of Neil Young's classic 1975 album 'Zuma'.
This is my original copy, purchased back in the winter of 1975, shortly after it's release, that I've taken great care of for many years.
This copy is all original with the lightly textured graphic album jacket and original inner sleeve .
This record is in very nice condition with some minor play wear. See details on Condition below.
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'Zuma' was Neil Young's seventh studio album, released in November 1975. It was Neil's first album released after the so-called 'Ditch Trilogy', of the albums 'Time Fades Away', 'On the Beach', and 'Tonight's the Night'.
'Zuma' was actually recorded before 'On The Beach' but came out just 6 months after 'Tonight's the Night.' It's one of the best, most enjoyable, and consistent albums Neil Young ever released.
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This album can be seen as an introspective, deep dive into Young’s feelings during his break-up and split from his girlfriend, and mother of his son Zeke, Carrie Snodgress.
There's plenty of bitterness in the songs, but also lots of self-reflection, awareness that both were at fault, and lots of expressed hopefulness for a new and better future.
There are songs that obviously deal with Neil's relationship troubles, but also songs about getting past them, breaking loose, having good times, and moving on with unrestricted freedom.
Songs like "Don't Cry No Tears" and "Lookin' for a Love" show that Neil was ready to move on to the next relationship.
The songs on Zuma are a mix of the personal and the abstract, inspired by his recent breakup with Carrie, but also inspired by dreams.
Several of the songs are perfect examples of Neil's ability to write tight, compact, well-structured, emotionally charged tunes, without sacrificing space for searing, reverb-drenched guitar.
I just love the imagery that Neil creates in his songs.
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This essential Neil Young album from 1975 is where Neil emerges from the Ditch, decides to cut loose and have a little fun for a change. The joyous abandon on Zuma is palpable.
At this point in his life, Neil had decided it was time to climb out of the ditch, end his relationship with Carrie Snodgress, move on musically and personally, and reactivate The Horse.
During the 'Ditch' years, fans thought that Neil might succumb to his depression and hopelessness, but 'Zuma' cries out with new found energy. I just love the imagary he creates and the expressed hopefulness. It's clear that Neil still had much to say lyrically and musically.
'Zuma' bridges the gap between the sweet harmonies of the Crosby, Stills & Nash era and the hard-edged rock era with Crazy Horse. It's one of Neil's best and most accessible albums.
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Most all of the Songs on this album were recorded with the new version of 'Crazy Horse', which, in 1975, consisted of:
Neil Young: Guitars & Vocals
Frank “Poncho” Sampedro – Guitar
Billy Talbot – Bass & Backing Vocals
Ralph Molina – Drums & Backing Vocals
The bulk of this album was recorded over the Summer of 1975 inside Producer David Brigg's home, located up in the hills of Point Dume, outside Malibu, overlooking the Pacific Ocean and Zuma Beach.
Neil was still living at his ranch at the time, but rented a house in Zuma Beach just down the beach from Briggs.
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The sessions for the album were a prolific time for Young, and a fresh start for him personally. He was newly single, seemed to have a new, positive outlook, and was having the time of his life.
"Those were some of the finest, most alive days of my life. I was getting past the lost relationship with Carrie, living the life with my best friends, making some good music, and starting to get a grip on something: an open future in my personal life and a new future with Crazy Horse after Danny."
Neil and the re-formed Crazy Horse moved into David Briggs' house near Point Dume and Zuma Beach in Malibu, California, set up shop in the basement, plugged into Neil Young's famous "Green Board" full of vintage analog tubes and started to record.
Nothing was more insane than the way they cut Zuma. "Back at Briggs's, we kept playing day after day and partying at night".
The band would briefly rehearse Neil's fresh, new material, set up, record, and mix them on the spot. That’s why Zuma sounds so raw, unproduced and primal. "We just played and played and played and were having a pretty good time just goofing off".
Every song on this album is incredible. Neil Young and Crazy Horse were back in a big, big way. The Horse was reborn.
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It was amazing how well Neil and Poncho found their 'connection' and their 'sound' right from the start. It was as if they were always meant to play together.
Their twin-guitar style is exceptionally strong, and perfectly executed, with Poncho providing just enough simple chord structure and 'crunch' to the music while managing to avoid getting in the way and interfering with Neil's outstanding, blistering solos.
The tight rhythm section of Billy and Ralph supplied the drive and the beat to Neil's songs.
Neil and the horses ride through these great songs with ease.
Crazy Horse was like the four-piece band was made up of 2 duets; the strong Billy/Ralph rhythm connection playing tightly under the stronger Neil/Poncho guitar connection. They all listened to each other, all reacted together, and 'fused' perfectly, almost telepathically. That's what Neil, and everyone else, loved about Crazy Horse's playing, and why Neil kept returning to 'The Horse' again and again over the years.
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ZUMA'S COVER ART
Much has been discussed about the cover art for 'Zuma'. Some love it, some hate it, but it's certainly unique.
It was drawn by Neil's neighbor and buddy, artist James 'Mazz' Mazzeo, who was later, very involved with Neil's 'Greendale' project and Neil's Bridge School project.
In the late 1960's, Mazzeo and a bunch of friends acquired a large defunct lumber mill in Topanga Canyon and built an artists commune called the "Star Hill Academy for Anything" that attracted all sorts of artists, hippies, and free spirits.
The commune expanded and the land around the Lumber Mill was used to raise llamas, emus and Yaks as well as grow crops and food.
In the fall of 1970, a newly wealthy Neil Young moved into his 'Broken Arrow' ranch, just up the hill and a short distance away down Skyline way from Mazzeo's place.
Mazz and Neil quickly became good friends.
Parts of Neil Young's movie, "Journey through the Past" were filmed at the lumber mill and Mazzeo made some props for the film.
Neil and Mazz were neighbors, friends, and kindered spirits for many years. They were both proud and happy survivors of the hippie era.
Although it's not obvious to many listeners who didn't know the situation, Mazzeo's commune and farm, down the hill, were inspiration for many of Neil Young's lyrics and imagery in his songs over the years.
For example, "Ride My Llama" which was completely finished and mixed for 'Zuma', but held back for a later release, was supposedly about Mazzeo's Llamas.
When Neil was thinking about Cover art for his new upcoming album, Neil discussed the idea with his artist neighbor Mazzeo.
Apparently, after some discussion, Mazzeo just created some quick sketches, some rough drafts and ideas on paper, but Young took one look at them, loved them, and told Mazzeo that “they are complete.”
The crude, sloppy, ballpoint-pen sketches of a bird and a naked lady, flying over the desert while a cactus below gives them both the finger, were drawn out quickly with a pen in less than 15 minutes.
The drawings reflect a feeling Aztecs, Incas, ships, and an Eldorado of ancient time. The lunacy of the images perfectly fit the lunacy of Neil's life at the time.
Mazzeo was paid $2,000 for his 'art'.
The cover artwork is amazing, and the artwork also continues onto both sides of the original inner sleeve.
The drawings are weird and wonderful, but the style of lettering and his use of astrological symbols to represent the band members and production team on the back cover are also very cool.
On the back cover there's little drawings of moons and stars. Mazzeo's way to give credits to the musicians and production team.
The whole package just has a great vibe.
I'm not sure what information about the record Neil gave Mazzeo to come up with his art. I assume that Mazzeo at least had the lyrics, and possibly listened to the music, before sketching his ideas on paper.
We can only assume that the fowl depicted on the cover inspired the song title 'Danger Bird' on the album. Or did the song title inspire by the artwork? We'll likely never know.
When Neil presented this to his record label as the artwork for his next album he claims “They thought I was nuts..." but Neil has gone on to say that “Zuma’s one of my favorite album covers.”
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There are 4 different Mazzeo drawings included in this album, 2 on the album jacket, 2 more on the sleeve. Actually 5 if you count his hand-written credits as art.
The original artwork is as important to the mood and feel of this album as the music itself. The 'art' is
a critical part of this album and no copy of 'Zuma' is complete without the original inner sleeve.
Many copies of this album on Ebay are missing the original inner sleeve.
This is my original personal copy, purchased 'gently used' in late 1975, and comes with the original softly textured album jacket, and the very cool 2-sided inner sleeve.
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THE HISTORY OF NEIL YOUNG AND 'CRAZY HORSE'
The story of Crazy Horse goes back to Neil's early years in Los Angeles. The members of Crazy Horse had been in a band called The Rockets, which played gigs in the same Los Angeles clubs as Neil's band Buffalo Springfield.
They all got to know each other well, so Neil recruited them to play on his 1969 album 'Everybody Knows This Is Nowhere' renaming them 'Crazy Horse'
The album was great and sold well. The group then went out on tour, but there was growing tension in the band.
Neil then got pulled away to join CSNY and Crazy Horse went their own way, adding guitarist Nils Lofgren, and releasing their own music.
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In November 1972, Neil put together a loose group of musicians, called 'The Stray Gators' to take his popular 'Harvest' album on the road.
The 'Gators' included his old friend, and Crazy Horse guitarist Danny Whitten, but Danny's addictions had advanced to the point where playing quality gigs was impossible.
Neil was forced to fire him, giving him $50 and a one-way plane ticket back to Los Angeles. A day later, Whitten was dead from an overdose of valium and alcohol.
Neil was shaken to the core, guilty about possibly hurrying and enabling his friend’s death.
The death of Crazy Horse guitarist Danny Whitten led to an uncertain future for Crazy Horse, but they continued on.
Neil soon retreated into his own world, writing songs about loss, lament, grief and disillusionment.
He entered the 'Ditch' years, releasing 3 poorly selling, but critically acclaimed albums. Today, they are all considered Neil Young "classics", many fan's favorite Neil records.
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Neil then put together a loose touring band he called the Santa Monica Flyers that included Talbot, Molina, and Lofgren, among others. After the tour fizzled out, the band entered the studio to record sessions for Neil's next album, which would become 'Tonight's the Night."
After the 1974 CSNY tour, when it became time to assemble a group for his next album, 'Zuma', Talbot and Molina were Neil's go-to rhythm section.
"One day I was talking to Billy and he told me he had finally found someone who could fill the void left by Danny Whitten’s death. His name was Poncho Sampedro."
The band got together for some spontaneous jam sessions at Billy Talbot's Echo Park home. At those sessions, Talbot's friend Frank "Poncho" Sampedro sat in playing guitar. Neil liked the sound and attitude of the band.
"Poncho" was a former juvenile delinquent from Detroit, a head shop owner and a beyond-recreational drug user. Needless to say, he fit right in.
Talbot recalls "It was great...we were all soaring. Neil loved it. We all loved it. It was the first time we heard The Horse since Danny Whitten died."
With Poncho joining Neil on guitar, Crazy Horse developed a style that allowed Neil him to create his best music in years. The rough-and-raw sound of Neil’s Gibson on many of these songs is positively mesmerizing, and his guitar interplay with 'Poncho' is beyond awesome.
"With Poncho in the band and me living down in Zuma on the beach, I started writing. Late night/early morning, after recording, I would walk the two miles up the beach to my house, trying to come down from whatever drugs I might have taken. The first song I wrote there was Cortez the Killer".
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Seven of this album's nine songs were recorded with the reunited Crazy Horse, but is not all just Crazy Horse tracks. A couple songs were recorded at Neil’s 'Broken Arrow' ranch, and are less biting and intense. The inclusion of a few gentler 'Broken Arrow Ranch' songs makes for a more balanced album.
The 9 songs on this classic album include:
Don't Cry No Tears / Danger Bird
Pardon My Heart / Lookin' For A Love
Barstool Blues / Stupid Girl
Drive Back / Cortez The Killer
Through My Sails
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The clear highlight and 'core' of 'Zuma' is "Cortez the Killer"
Inspired by standing on the beach, looking out at the vast Pacific ocean, and letting his mind wander, "Cortez the Killer" was the first song that Neil wrote after moving to Zuma Beach in Malibu.
It was also the first track laid down for the new album, in May 1975, with the newly reformed Crazy Horse during the infamous 'Zuma Beach' sessions.
According to Neil, the lyrics to "Cortez" were first written in high school, late one night after 'overdosing' on 5 or 6 hamburgers. He was studying history, learning about colonization, and "in the morning I woke up and I'd written this song."
In 1995, Neil told interviewer Nick Kent that 'Cortez the Killer' was a "combination of imagination and knowledge...what Cortez represented to me is the explorer with two sides, one benevolent, the other utterly ruthless."
Neil had no interest in presenting a historically accurate account of the Spanish conquest of the Aztec Empire. Instead, he applied his artistic license and presents the Aztec Empire as a cooperative utopia with a vibrant culture destroyed by Spanish greed. Neil reinterprets the loss of the Aztecs as an allegory of love lost, which is the underlying theme of this album.
Neil is able to create such clear and beautiful imagery, as well as emotion and hopefulness in this song. It's one of his best loved compositions.
Despite being almost 8 minutes long, the song is perfect and flows effortlessly. The song opens with an exceptionally long introduction which perfectly sets the mood and imagery.
The rhythm section perfectly drives the song along. Billy Talbot's slow, sticky, perfectly placed bass lines, and Ralph Molina's excellent, soft, cautious, emotive drumming, and precise cymbals, are the perfect platform for Neil's amazing, extensive solos. Poncho keeps everything knit together perfectly with his smooth, steady, rhythmic playing.
Neil's vocals are just amazing. His frail, shaky, expressive voice fits the mood and feel of the song perfectly. I just love the imagery, the expressed hopefulness, the emotional honesty and textural complexity his voice creates. His vocals on this whole album are some of his best ever.
By the time he finally crawled out of the 'Ditch' in the summer of 1975, Neil's guitar playing had transformed both technologically and artistically into a much more expressive style. His guitar playing, both Acoustic and Electric, had become much more masterful and powerful.
It's often said that a guitar player's instrument is an extension of their mind and body, and Neil's 'Old Black' is a perfect example.
As some of you know, in late 1973, shortly before the sessions for this album began, Neil put a humbucker from a 1972 Gibson Firebird into the bridge position of 'Old Black' and kept the old Gretsch Dynasonic single-coil pickup in the neck.
The resulting tones and sounds that Neil squeezed out of his 1953 Gibson Les Paul, thru an old Fender Deluxe amp, were crisp, clear, amazing and timeless.
Neil's lead guitar playing during the time he made 'Zuma' is clearly some of his best ever. His new guitar skills can be heard in every song of this album, but especially on the masterful and multilayered 'Cortez The Killer'.
His new commitment to playing long, loud, intense, distortion driven rock n’ roll, a style he had turned away from since, 'Down by the River', is what makes this album so enjoyable.
His Guitar growls, distorts and overdrives all over his solos on 'Cortez', especially when he digs down into the darkness of the lower register.
Many of Neil's longtime followers, and a whole new generation of fans, give Neil credit and praise as the 'Godfather of Grunge'. This album is where many say that reputation started. 'Cortez' could certainly be called proto-grunge.
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“Don’t Cry No Tears”, which opens the album, is a perfect example of the 'chemistry' that Crazy Horse creates on this record, especially the musical connection that Neil and Pancho had developed.
The song has it's roots, its melody and early lyrics, from an old Neil Young song called "I Wonder" that he claims he wrote while still in High School. Neil updated it, adding the "Don't Cry No Tears" verse around 1974, after his breakup with Carrie.
It's a fantastic, mid-tempo rock song played by guys in perfect sync with one another.
Neil and Pancho's twin guitars, played over the sturdy rhythm section of Billy and Ralph, have amazing snap, sizzle, fullness and harmonic density. Their guitar interplay is awesome and I find it amazing how quickly the two just 'clicked' after first playing together.
“Don’t Cry No Tears” is a song about packing up your past, putting it away, behind you, and moving on.
That's sort of the theme of this whole album, and the story of the rebirth of Crazy Horse after Danny Whitten's death. It's a great song to lead off the album and sets the mood for the rest of the record.
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Track two, ‘Danger Bird’, is one of Zuma's highlights.
The track was partially derived from an earlier song, written about the break up of Neil and Carrie Snodgress’s relationship, called "L.A. Girls and Ocean Boys."
It's, in my opinion, one of Neil Young’s best songs from his 'Zuma Beach' period.
Written in an odd minor key, which gives it a bit of a sinister sound, 'Danger Bird' is a heavy, multi-layered, guitar-driven track with a similar feel to 'Cortez'. Billy's Bass playing is excellent, Neil's guitar screams, and the backing vocals perfectly compliment Neil's voice.
Neil and the Horses ride right through this heavy rocker inspired by Snodgress’ infidelities.
Neil makes it clear that Carrie was the 'danger bird', but fans have debated which character in Jim Mazzeo's jacket artwork is the 'bird', the Eagle or the Woman hanging from it's talons. I don't think Neil has ever confirmed that.
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"Barstool Blues" was written late one evening after being out all night drinking and partying.
Neil recalls; "We came home from the bar and I wrote that song. I woke up and I went, 'FUQK!' I couldn't remember writing it, I couldn’t remember any of it".
When the song and the band were resurrected the next day, Neil realized that most of the melody was 'borrowed' from Bob Dylan’s “It’s All Over Now, Baby Blue,” and that he wrote it in too high a scale for the band to tackle.
The song was reworked a bit, the chords lowered, and it became a classic. Even 'blitzed' out of his mind on whatever drugs were flowing thru his body at the time, Neil was so prolific and creative during this 'Zuma' period that he could even write great songs while nearly uncoscious.
'Barstool Blues' features some great lyrics, but the guitar work is the highlight of the song and it's a tour-de-force study in searing reverb.
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Neil Young turns into a balladeer on “Pardon My Heart.” It's the 'oldest' song on Zuma, if you don't count his unlikely claim to have written some of these songs while still in High School.
"Pardon My Heart" was written in the Spring of 1974, after returning from a vacation in Hawaii where he first discovered news of Carrie's infidelity.
A softer, tender, acoustic piece, the song was written as his relationship with Snodgress was starting to deteriorate.
"Pardon My Heart" was recorded at his Broken Arrow Ranch studio, with just Neil and Bassist Tim Drummond.
It's original restrained arrangement was then updated, fleshed out, with backing vocals, an excellent electric guitar solo, and tinkling piano overdubs during the Zuma House sessions in August 1975.
The inspiration for the song came from a conversation Neil had with his friend and neighbor Jim Mazzeo, who would later sketch the cover art for Zuma.
Neil had just found evidence that his girlfriend Carrie had been cheating on him, while he was secretly doing the same to her. He confided in his friend Mazzeo, who told him, "Sometimes you just have to pardon your heart..."
The phrase struck Neil hard and inspired him to write this song.
Neil first sang it as a solo acoustic piece at his famous 1974 Bottom Line performance, introducing it as "a song I learned recently. I wrote it too. This is a love song. It's one of the saddest love songs I've ever heard."
Zuma is best known as the album where Neil 'plugged in' again after his more Acoustic 'Ditch Trilogy' albums, but parts of this album still show what a master Neil was on Acoustic guitar, perfectly blending his voice and his playing to create a certain 'feel'.
On “Pardon my heart,” Neil plucks out his despair on the lower strings of his Acoustic guitar, which gives the song more power, resonance, and a heavy mood.
I consider “Pardon My Heart” to be one of Neil’s most introspective, agonizingly beautiful songs.
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“Lookin’ for a Love”
Neil has never gotten along well with his record labels. When Warner Brothers called him, late in the summer of 1974, wondering where the next record that he promised them was, Neil thought he had enough material finished to put the record together and that he was done recording.
Neil did have enough 'finished' or nearly finished songs ready, but many of them were excellent tunes, just not the right material for 'Zuma'.
During this 'Zuma Beach' period, Neil was quite creative and prolific, wrote many songs, but held a lot of them back for other future projects.
Some future classic Neil Young songs written and performed during the Zuma sessions that did not make the album include "Powderfinger", "Pocahontas", "Sedan Delivery", "Hitchhiker", "Ride My Llama", "Hawaii", "Kansas" and "Born to Run".
Neil realized he needed 1 more song for 'Zuma' and, as a late addition to the album, recorded "Lookin' for a Love" at Broken Arrow Ranch, well after the Zuma Beach sessions were over.
Neil had thought he was 'done' with 'Zuma', so, during the downtime, while it was being put together, he decided to undergo some minor throat surgery.
Afterwards, Neil, unable to speak, much less sing, famously wrote “Lookin’ for a Love”, scribbling it out on an 'Etch-a-Sketch' provided by Poncho to help him communicate.
He taught the band the music, the simple chords and melody, and then overdubbed his vocals on it later, once his throat healed.
The final result, 'Looking for a Love’ is one of those great, pleasant, melodic, country songs of Neil's that he does so well.
Even in his simpler compositions, you can always find a nugget of brilliance in a Neil Young song.
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Side two of 'Zuma' starts with the hard hitting rock song 'Stupid Girl'.
This is another perfect example of the chemistry, and almost telepathic 'connection,' that was formed between Neil and Poncho during the Zuma sessions.
"I recorded it with Crazy Horse at 4 o’clock in the morning. We were all messed up and did the track, all the vocals and everything, all in one shot..."
Neil went back and overdubbed the vocals, but the rest of it is raw, ragged, and fantastic.
The song has double-tracked lead vocals, twin electric guitars, and clever, catchy, tempo changes between the musical interludes and the verses.
Most Neil Young fans presume the lyrics are about Carrie, but Neil has never confirmed that.
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Next up is another hard hitting Neil Young rocker. ‘Drive Back’ is a great, overlooked, underrated moment on 'Zuma.'
Slow, grooving and sinister, with some great guitars. Neil's solo is fantastic, intense and really cuts deep.
You can almost 'sense' the amps turned up to "11", and their glowing tubes rattling & screaming, during the recording session. Some fantastic harmonic overtones.
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Side 2 of 'Zuma', with it's run of 'Stupid Girl', 'Drive Back', and 'Cortez the Killer' is a perfect slice of Neil Young and Crazy Horse that many fans don't even know about.
'Cortez' can be found on several other, better selling, Neil Young records, so this back side of 'Zuma' has unfortunately become 'lost' and overlooked.
If it weren't for the sweet, out-of-place, CSNY song tacked on the end, this would easily make the list of my all-time, ultimate album sides.
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"Through My Sails"
This odd choice for the album closer came out of the aborted CSNY recording sessions, at Broken Arrow Ranch, way back in June 1974 after the end of the band's 'Doom' Tour.
CSNY came together at Neil's ranch to work on new songs for a third studio album, which never quite came together. CSNY was copletely fractured by that point.
The song features Neil on Guitar, Stephen Stills on Bass, Russ Kunkel on Congas and features the fantastic backing vocals and harmonies of Stephen Stills, David Crosby, and Graham Nash.
It’s a nice breezy love song, with a nice melody, and the rich harmonies are quite lovely, but the pristine production is completely out of sync with the 'Zuma sound' and it really doesn't fit with the feel of the other songs on the album.
Neil felt that it was one of the few songs worth salvaging from the aborted CSNY sessions and tacked it on as the last song on Zuma.
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CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
I purchased this copy 'new' back when it was released in 1975, nearly 50 years ago, and have taken great care of it since.
It's complete with the original 'textured' jacket' and textured inner sleeve.
VINYL: The vinyl looks decent. Some play wear and a few hairlines, but no major 'dings' or flaws. It still looks decent and I'm sure you'll be very happy with it. I'll call it VG+.
The Deadwax of these First Pressings is pretty minimal. These first pressings didn't have any pressing plant identifiers, or other information. The Mastering info is written on the labels, not in the deadwax. See the full Matrix above.
I tried to show some close-up pictures of the vinyl to show how good it still looks. Not perfect, but I'm sure you'll be happy with it.
I haven't messed with it or cleaned it, other than my trusty 'DiscWasher' brush, in 50 years. A good deep cleaning will make it even better looking and better sounding than it already is.
LABELS: This is pressed with the 'classic' orange 'Steamboat' Reprise labels. The labels are clean and bright. No marks or damage. The spindle holes are still sharp and clean, suggesting minimal playing and my careful handling over the years.
These First Pressings had the Production information and Mastering Engineer George Horn's name at the top of the label.
JACKET: As you can see from my pictures, this still looks very nice for a 50 year old OG copy.
There are 2 minor issues that should be pointed out.
There is a very small previous owner's sticker in the top left corner of the front jacket. I never tried removing it, but I suspect it will come off easily with lighter fluid or another solvent.
There is also a small seam split at the bottom of the opening side. It's not bad, and when sleeved it's not an issue. I showed detailed photos of these 2 issues in my pictures.
This thick, 'textured' all white jacket is notorious for showing ringwear, dirt, scuffs and damage, but this copy is still quite nice. Mostly White and bright. There is some minor foxing in the bottom left of the back cover. Again, not bad. Most copies of this album show significant 'darkening,' wear and foxing, but this one looks great.
The artwork is still bold and bright, the corners are sharp, and the spine is straight. A nice survivor.
Overall, I'll call the whole record VG+, but it's a nice original first pressing.
This record has been sleeved and stored properly for years, and is still quite nice for an original pressing. The original inner sleeve is included and looks terrific.
This copy is all original and a real gem. I'm sure you'll love it.
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** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare and as described and I'm sure you'll be very happy with it.
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