Some albums were released in multiple versions (pressings). There is the first pressing, which can be very valuable to collectors. When that stock runs out, a new pressing is made, called a repress or re-issue. These are often slightly different, such as a different sleeve or heavier vinyl.
Sometimes older albums are remastered, improving the sound quality. A new pressing is made for this as well. Differences in artwork or small production errors can also make a specific version more attractive.
What makes the difference in price?
For records that are not new, the market value is determined by scarcity and the condition of both the record and the sleeve. Pricing is based on supply and demand, and whether a version is limited or numbered.
Which variant should I choose?
If it’s mainly about the music, a repress is a good choice. An original or numbered edition has a different kind of appeal.
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Genre:Jazz, Pop Style:Novelty, Vocal
Tracklist:
A1. Jam Man A2. Scotchin' With The Soda A3. Cement Mixer A4. Cuban Rumbarini A5. Drei Six Cents A6. Three Handed Boogie A7. Groove Juice Jive A8. Laguna Oroonee B1. Tip Light B2. Arabian Boogie B3. The Hogan Song B4. Money, Money, Money B5. Organ Oreenee B6. Little Red Riding Hood B7. When Banana Skins Are Falling B8. Bongo Cito
General notes about this release (please note: our version may differ a little. see the comments above):
Slim Gaillard's name is spelled incorrectly on the front cover and spine but correctly elsewhere.
A1: L.A. 1947 (?)
A2, A3: L.A. 12/1/1945
A4 to A7: L.A. 12/20/1945
A8: L.A. 1945
B1 to B4: L.A. 1947
B5 to B8: New York Sept. 1949
Tom Lord's Jazz Discography has different info in some places:
(with original 78rpm releases)
A1: c. May 1946; Atomic 250
A2, A3: Dec. 1, 1945; Cadet 201
A4: Dec. 1, 1945; Cadet 203; Gaillard on piano, not Marmarosa
A5: Dec. 15, 1945; Atomic 230
A6, A7: Dec. 20, 1945; Cadet 204
A8: late 1945; Bee-Bee 101
B1, B2: Feb. 11, 1947; MGM 10017
B3, B4: Dec. 15, 1947; MGM 10164
B5: Nov. 11, 1949; MGM 10599; add Armando Peraza on congas
B6: Oct. 1, 1947; MGM 10599; prob. Marmarosa on piano, Bam Brown on bass
B7, B8: Nov. 11, 1949; MGM 10938; add Armando Peraza on congas
All recorded in Los Angeles.
