Crosby Stills Nash Young • Deja Vu Classic Records 200gm Quiex SV-P Vinyl SS M

Description: ULTRA RARE PREMIUM AUDIOPHILECrosby, Stills, Nash, &Young Déjà Vu CLASSIC RECORDS200 gram SuperFlat Quiex SV-P Vinyl Atlantic SD 7200 Classic Records Textured Gatefold Jacketwith "Paste-On" Cover COLLECTOR'S TOP COPYPristine, Sharp Corners, No Rips or Tears, No Seam Splits, Superb !Factory SealedExtremely limited edition, ultra rare Audiophile LP, long out-of-print ! After a 3-year search,the absolute Original Master Tapes were foundand cut from the Original Two-track Analog Mastersby Bernie Grundman using his all-tube cutting system.Classic Records launched its now famous Signature Blue Note Mono reissue series in 2003. As part of that series Classic developed an "authentic" 200 gram LP profile that replicated that of an original Blue Note record from the 1950's. Comparing a test pressing on the new profile versus the same title on the normal 180 gram pressing it was discovered that the 200 gram version sounded significantly better.The 200 gram pressing sounded louder, with more definition and solidity of notes across all frequencies and there was more detail - particularly low level detail like room or hall sounds, pages being turned, musicians whispering and automobile sounds outside the studio all became easier to identify. At first it was speculated inside Classic Records that the extra weight resulted in the better performance as no one could come up with a better answer given that the stampers were the same as well as the vinyl pellets used on both 180g and 200g pressings.As the story is told... one day, Michael Hobson, the founder of Classic Records was discussing this unexplainable sonic discovery with the Legendary Mastering Engineer and Sheffield Records founder, Doug Sax when Doug, without hesitation stated "Ah Michael you've discovered the difference in a flat versus conventional profile". Puzzled, Hobson asked for an explanation which Sax described as going all the way back to 1950's mono pressings and what happened when stereo records came out in the early 1960's. Sax explained that in the 1950's when mono records had no vertical modulation (only lateral), pressing PolyVinylChloride PVC (plastic) records were more easily pressed on "Flat Profile" dies fitted to the pressing machines since the grooves on the mono stampers were all the same height (no vertical modulation).The molten vinyl was able to flow evenly across the stampers and fill properly during the molding (pressing) of the record. The problems started when stereo record cutting came into vogue producing stampers that had variable height grooves sticking up across the diameter of each stamper. Using the older mono pressing dies resulted in tremendous problems getting the areas between grooves of different heights to fill properly - a groove that is in front of another taller one often got passed over by the flowing molten vinyl resulting in "non-fill" which was audible and thus a "defective" record. Pressing plants don't like to press defective records and are always looking for high pressing yields or a s few rejects as possible.

 To solve the problem, the engineers developed a new pressing die profile which tapers from the center of the die, flattens in the middle of the diameter and then tapers again toward the outside of the die. The new profile was "concave" rather than flat. When you put a flat stampers onto the concave dies the stampers distort and are no longer flat - the grooves are no longer perpendicular across the stamper and by association across a finished vinyl pressing. This new die profile created "back pressure" on the flowing vinyl and solved the "non-fill" problem with stereo pressings and resulted in higher yields which was great for pressing plants and good for record companies who wanted good prices on pressings. The problem was and still is that the new profile records don't sound as good as they could because they are not flat across their profile. Using a micrometer across the diameter of a 1950's mono records reveals that the thickness is virtually the same across the record's diameter from center label to outer edge but not so for a newer stereo profile pressing which is convex across its diameter resulting from the concave profile dies ~ distorted stampers. This is the dirty little secret that Classic had rediscovered was known to old school experts like Doug Sax who founded Sheffield Labs in the 1970's.After the discovery, Classic Records never looked back and all of its releases and re-pressings after 2003 were on the new 200 gram Flat Profile dies that were specially made for Classic. Some years later Classic discovered that the very same profile was used by JVC in Japan to produce the legendary UHQR pressings for Mobile Fidelity which are well known to sound better than the conventional Mobile Fidelity pressings of the same titles - it all makes sense now. Summary:Classic 200g Super Vinyl Profile (Flat Profile) pressings are superb~ as good as it gets ~ for proper playback without groove distortion!Note: Although very seldom seen on most copies, sometimes a few of these new, factory sealed, unplayed records may contain some very faint visible marks on the vinyl due to the type of sleeves used by Classic Records. ( If any happen to be present; no worries, as they do not effect play. ) However, on the few opened copies we have seen over the years, we have not seen any such visible marks. "One of the most hotly awaited second albums in history~ right up there with those by The Beatles ~ Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. There were also some obvious virtues in evidence ~ the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young's contributions in this area were confined to the second side of the LP." "Most of the music, apart from the quartet's version of Joni Mitchell's "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the album's opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. "Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby's "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds' "Drug Store Truck Drivin' Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. "Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash's life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed." "And then there were Neil Young's pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn't record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed." © AllMusic side A TitleWriter(s)Lead vocalsLength 1."Carry On" Stephen StillsStills4:262."Teach Your Children" Graham NashNash2:533."Almost Cut My Hair" David CrosbyCrosby4:314."Helpless" Neil YoungYoung3:335."Woodstock" Joni MitchellStills3:54side BTitleWriter(s)Lead vocals Length1."Déjà Vu" David CrosbyCrosby4:122."Our House" Graham NashNash2:593."4 + 20" Stephen StillsStills2:044."Country Girl (Whiskey Boot Hill/Down Down Down/Country Girl (I Think You're Pretty))" Neil YoungYoung with Crosby, Stills & Nash5:115."Everybody I Love You" Stephen Stills, Neil YoungStills with Crosby & Nash2:21 CSNYDavid Crosby — vocals all tracks except "4+20"; rhythm guitar on "Almost Cut My Hair," "Woodstock," "Déjà vu," "Country Girl," and "Everybody I Love You"Stephen Stills — vocals all tracks except "Almost Cut My Hair"; guitars all tracks except "Our House"; keyboards on "Carry On," "Helpless," "Woodstock," and "Déjà Vu"; bass on "Carry On," "Teach Your Children," & "Déjà vu"; percussion on "Carry On"Graham Nash — vocals all tracks except "Almost Cut My Hair" and "4+20"; keyboards on "Almost Cut My Hair," "Woodstock," "Our House," and "Everybody I Love You"; rhythm guitar on "Teach Your Children" and "Country Girl"; percussion on "Carry On" and "Teach Your Children"Neil Young — vocals on "Helpless" and "Country Girl"; guitars on "Almost Cut My Hair," "Helpless," "Woodstock," "Country Girl," and "Everybody I Love You"; keyboards, harmonica on "Country Girl"Additional PersonnelDallas Taylor — drums all tracks except "4+20"; tambourine on "Teach Your Children", percussionGreg Reeves — bass on "Almost Cut My Hair," "Helpless," "Woodstock," "Our House," "Country Girl," and "Everybody I Love You"Jerry Garcia — pedal steel guitar on "Teach Your Children"John Sebastian — harmonica on "Déjà vu" This is simply the best that this material has ever sounded -- and a must-have for any serious fan of CSN&Y !Highly Recommended !This is without a doubt CSNY's finest albumand favorite among their millions of fans !Ultra-Rare, Extremely Limited Edition, Long Out-of-PrintOriginal 2-track Analog Master Recording, HQ AUDIOPHILE PRESSINGDO NOT MISS THIS RARE COLLECTIBLE OPPORTUNITY !ULTRA RARE PREMIUM AUDIOPHILE Value: $1,999.99 Buy It NOW : $999.99 LTD SALE : $799.99 SPECIAL SALE ! On Sale for a limited time only !Last Copy ! Buy it now before it is gone ... forever !Merchandise will be professionally packaged extra well,shipped FAST with Insurance,Tracking Number, and Adult Signature Required ! All merchandise in temperature controlled, smoke-free pet-free environment.Superior Fast Professional Service100% Perfect Feedback Scores ! High quality photos provided for your buying confidence!Accurate description with conservative Goldmine grading.Please ask questions before buying !All Sales Final. No Returns.As serious collectors well know, Long Out-of-Print, Factory SEALED, MINT, Limited Edition LP's command a much higher value than an opened LP's in the same condition.If you proceed to purchase this rare sealed collectible, it is not returnable.If you proceed to purchase this rare sealed collectible, you hereby also agree to the following terms:This rare, sealed, long out-of-print, collector's item,once purchased, is Not returnable.No exceptions.Standing Policy for all my factory sealed vinyl, once opened, is not returnable, as it's "sealed" value is why it commands a much higher price. Once opened, it is yours! No exceptions. NOTE: We can’t control or warranty sealed records from the factory that we have no control over that are out-of-print rare factory sealed records, including those from extinct record companies. (Classic & DCC) Typically audiophile records from top manufactures such as Classic Records, Mosiac, DCC, MFSL, have no issues and deliver the finest quality, which is why they are in high demand and command/hold their values. And those that are out of print still factory sealed command an even higher value.Please see my other rare item for sale.Thank you!

Price: 799.99 USD

Location: Springfield, Missouri

End Time: 2024-09-11T00:30:50.000Z

Shipping Cost: 19.5 USD

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Item Specifics

All returns accepted: ReturnsNotAccepted

Features: All-Tube Cutting System, Original Two-Track Analog Masters, Mastered by Bernie Grundman, 180-220 gram

Format: Record

Record Size: 12"

Special Attributes:: Original All-Tube Analog Master Recording

Era: 1970s

Country/Region of Manufacture: United States

Material: Vinyl

Speed: 33 1/3 RPM

Edition: Rare, Long Out-of-Print Collectible, Audiophile Master Recording, Masters by Bernie Grundman, Textured Gatefold Jacket, "Paste-On" Cover, Collector's Edition, Deluxe Edition, Limited Edition

Record Label: Deja Vu

Case Type: Gatefold

Language: English

Release Title: Déjà Vu

Sleeve Grading: Factory Sealed: Mint (M)

Artist: CSNY w/ Dallas Taylor & Greg Reeves, Crosby, Stills, Nash, & Young, David Crosby, Graham Nash, John Sebastian, Jerry Garcia, Neil Young, Seal, Stephen Stills

Record Grading: Factory Sealed: Mint (M)

Fidelity Level: High-Fidelity Audiophile

Release Year: © 1970 Atlantic Records

Style: Folk, Country Rock, 1970s

Color: Black

Genre: Folk, Country Rock, Classical

Inlay Condition: Mint (M)

Number of Audio Channels: Stereo

Type: Gatefold Album: Textured Cover, Paste-On Photo