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Location: Sonoma, California
Ships to: US,
Item: 176198550259

Restocking Fee:No
Return shipping will be paid by:Buyer
All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money Back
Artist:Fleetwood Mac
Speed:33 RPM
Record Label:Warner Bros.
Release Title:Tusk
Material:Vinyl
Catalog Number:2HS 3350
Edition:First Edition,First Pressing
Type:Double LP
Format:Record
Release Year:1979
Producer:Fleetwood Mac, Richard Dashut & Ken Caillat
Era:1970s
Style:1970s,Classic Rock,Hard Rock,Acoustic,Love Quadrangle Rock
Record Size:12″
Features:Original Cover,Original Inner Sleeve,HOT STAMPER!
Genre:Rock
Country/Region of Manufacture:United States
Number of Audio Channels:Stereo

Vinyl: EX+ Play Graded. Sounds Excellent!! Has a few marks that don’t affect the sound quality. HOT STAMPER! Warner Brothers Labels are Clean and Bright. This is the audiophile acclaimed 1979 Warner Brothers 2HS 3350 Double album, Mastered by Ken Perry at Capitol and Pressed at their famed Los Angeles, CA Pressing Plant!! One reason Capitol’s Los Angeles plant was renowned for the quality of their pressings was because they replaced their Masters more frequently, which lends itself to their reputation for producing Hot Stampers (see below for what makes a Hot Stamper). The Mac’s last Legendary album! This is Lindsy Buckingham’s Masterwork, unappreciated when it first came out (after the Peerless Rumours album–imagine having to top that!) This is the kind of album that shimmers as a result of Buckingham’s production values, and that together with Captiol’s adherence to quality control and the limiting of copies per Master, this is THE version to have AND it’s a HOT STAMPER! allmusic gives it 5 stars!! HOT STAMPERS are typically among the first of a factory Pressing run. The Master is produced from the Original Analog tapes. The Master is utilized to make the stampers at the Pressing Plant and so, much like coins pressed at a mint, the stampers produce exceptionally highly defined copies until they’ve made so many that the product begins to lose the definition that the stamper originally provided. Then, they use a new stamper. RECIPE FOR IDENTIFYING A HOT STAMPERFirst: listen to many copies of Tusk, listening for a copy that has the following qualities: The biggest, most immediate staging in the largest acoustic space.The most Tube Amp Presence, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tube Amp Presence that was on the original tapes in 1979. You can hear the hum of Lindsey Buckingham’s Tube Amp warmth throughout. Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low.Natural tonality in the midrange — with all the instruments having the correct timbre.Transparency and resolution, critical to hearing into the three-dimensional studio space. WHAT TO LISTEN FOR ON A HOT STAMPER ENERGY for starters. What could be more important than the life of the music?Then: presence and immediacy. The vocals aren’t « back there » somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality.Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to lesser pressings.Tight punchy bass — which ties in with good transient information, together with the frequency extension further down.Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments. Buckingham’s idolation of Brian Wilson contributes greatly here and this can be heard all throughout Tusk. As one example, listen to what surrounds Stevie Nicks’ song « Sara ». On this copy, you feel like you’re in the room where Nicks’ recorded the vocals. You can « hear » the spaces around the instruments in a way that other analog copies and no digital formats even approach. On this Hot Stamper, there are many moments where the motion of the song filled the room I listened in. Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper. See Review Below! In the Dead Wax: Matrices, etched. Plus, on all sides: MASTERED AT CAPITOL, the * glyph and K ((Mastered by Ken Perry at Capitol and Pressed at Capitol’s Los Angeles, CA Pressing Plant)). Complete Dead wax details cheerfully provided upon request. Cover: VG++ (see photos) Includes the photo collage Inserts, in beautiful condition, 2 for each disc, where one fits into the other. Art work by Vigon Nahas Vigon. Front and back of cover artwork and text are rich, clear and bright, with some ring wear. Seams, corners and spine are solid and clean. No splits. No writing. No stickers. Spine print is crystal clear. Goldmine Standards. I play grade every record that I sell on eBay as I have found you can’t rate an LP accurately by just visually inspecting an album. I wipe the dust off of every cover with clean, unscented baby wipes. I professionally clean the vinyl. (I also operate a Vinyl Record Cleaning business for your dusty/dirty records–if interested, send me a message). U.S. Shipping: FREE domestic shipping! Combine any additional items and they’re also shipped FREE! If you wish to take advantage of my COMBINED SHIPPING deal, simply select your items by clicking on « ADD TO CART » on the main listing page. Do this for all of your selections and then go to your cart to checkout. Your combined shipping discount will be computed automatically. All records are packaged securely with the vinyl outside the jacket (to avoid seam split in transit). The vinyl and jacket are sandwiched between two cardboard stiffeners and shipped in a custom cardboard record mailer box. INTERNATIONAL BUYERS! EBAY’S PLATFORM DOESN’T ACCOMMODATE FOR COMBINED SHIPPING FOR INTERNATIONAL BUYERS—BUT DON’T LET THAT STOP YOU!!!—I CAN COMBINE SHIP FOR YOU AND MINIMIZE SHIPPING COSTS!!! TELL ME WHICH ITEMS YOU WANT TO BUY, AND I WILL WEIGH THEM AND THE SHIPPING BOX TOGETHER AND THEN I WILL CREATE A « LOT OF 2… » OR « LOT OF 3… », OR « LOT OF 4… », ETC WITH THE ITEMS YOU WANT, AND CREATE A LISTING WITH THE EXACT WEIGHT OF YOUR LOT. THIS WILL SAVE YOU A LOT OF MONEY!!! IF YOU’RE INTERESTED IN THIS, SEND ME A MESSAGE TELLING ME WHICH ITEMS YOU WOULD LIKE TO PURCHASE AND WE’LL GO FROM THERE. OR, FEEL FREE TO ASK QUESTIONS. I ship internationally through EBay’s Global Shipping Program. Check to be sure that they ship to your country. Feel free to ask any questions and happy shopping! Once you’re satisfied with your purchase, please leave positive feedback and I will do the same for you. If you’re unsatisfied, please let me know so we can resolve it. I do not give partial refunds. Take a look at my previous feedback and buy with confidence. I’ve qualified for the « Top Rated Plus » seal from eBay, awarded to the most reputable sellers who consistently deliver outstanding customer service. Check my other items this week, check back often & CLICK ON « SAVE THIS SELLER » at the top of my listings page to be notified of New Listings as I will be adding more Rare items in the coming weeks! Thanks! 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. Tusk Review by Stephen Thomas Erlewine More than any other Fleetwood Mac album, Tusk is born of a particular time and place — it could only have been created in the aftermath of Rumours, which shattered sales records, which in turn gave the group a blank check for its next album. But if they were falling apart during the making of Rumours, they were officially broken and shattered during the making of Tusk, and that disconnect between bandmembers resulted in a sprawling, incoherent, and utterly brilliant 20-track double album. At the time of its release, it was a flop, never reaching the top of the charts and never spawning a true hit single, despite two well-received Top Ten hits. Coming after the monumental Rumours, this was a huge disappointment, but the truth of the matter is that Fleetwood Mac couldn’t top that success no matter how hard they tried, so it was better for them to indulge themselves and come up with something as unique as Tusk. Lindsey Buckingham directed both Fleetwood Mac and Rumours, but he dominates here, composing nearly half the album, and giving Christine McVie’s and Stevie Nicks’ songs an ethereal, floating quality that turns them into welcome respites from the seriously twisted immersions into Buckingham’s id. This is the ultimate cocaine album — it’s mellow for long stretches, and then bursts wide open in manic, frantic explosions, such as the mounting tension on « The Ledge » or the rampaging « That’s Enough for Me, » or the marching band-driven paranoia of the title track, all of which are relieved by smooth, reflective work from all three songwriters. While McVie and Nicks contribute some excellent songs, Buckingham owns this record with his nervous energy and obsessive production, winding up with a fussily detailed yet wildly messy record unlike any other. This is mainstream madness, crazier than Buckingham’s idol Brian Wilson and weirder than any number of cult classics. Of course, that’s why it bombed upon its original release, but Tusk is a bracing, weirdly affecting work that may not be as universal or immediate as Rumours, but is every bit as classic. As a piece of pop art, it’s peerless.

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