White label Promo LP's
- Thread starter stosh
- Start date
- Status
bob
Active Member
Stosh,
How are you doing? I am from Cleveland, Ohio as well.
The answer to your question is, I would say, "yes," becasue I do have some white label promos myself!
From Canada I have What Now My Love. From the USA I have Brass Are Comin', Solid Brass and Herb Alpert's Ninth.
I hope that helped you out some.
Take care,
Bob
Edited & Corrected for clarity and readability by an A&M Corner Moderator
How are you doing? I am from Cleveland, Ohio as well.
The answer to your question is, I would say, "yes," becasue I do have some white label promos myself!
From Canada I have What Now My Love. From the USA I have Brass Are Comin', Solid Brass and Herb Alpert's Ninth.
I hope that helped you out some.
Take care,
Bob
Edited & Corrected for clarity and readability by an A&M Corner Moderator
I would venture a guess that if you look long and hard enough, that you'll find a test pressing and promo copy of every album. Remember that these are a regular part of the record making & selling process.
Promotional copies of LPs, usually marked as "Not For Sale," are sent to radio stations and reviewers and as such, are not counted for the purposes of royalties to the artist. However, as they are used to promote/sell copies of the album, the profit$ to all involved get racked up.
Promotional copies of LPs, usually marked as "Not For Sale," are sent to radio stations and reviewers and as such, are not counted for the purposes of royalties to the artist. However, as they are used to promote/sell copies of the album, the profit$ to all involved get racked up.
I personally don't own any white label promos from the early Alpert era. A lot of general white label promos are pictured in this current thread over at the Steve Hoffman forum, including a lot of A&M's:
http://www.stevehoffman.tv/forums/showthread.php?t=154351
Harry
http://www.stevehoffman.tv/forums/showthread.php?t=154351
Harry
Yes, the very first vinyl to be stamped. As I recall, this particular one was found at a record collectors show in the Northeast - some dealer had it mixed in with other regular albums. There was just a generic album sleeve with a large center cutout. Unfortunately, it had been played a lot and not well taken care of, but to me it was a rare item that I snagged for a buck or two.
The old-fashioned process of making a record was pretty much the same everywhere. During the recording of an album, if it was a fairly high profile performer the recording studio would often cut an acetate of the finished work for the artist to take home at night and listen to before giving final approval to the mix. This was the case for performers who didn't have professional tape machines at home; those who did (like Herb) would simply get a quarter inch tape copy.
Once the album was completed and approved by producer and performer, the master tape was sent to the cutting room and a master stamper produced. This was used to make "test pressings" (often only a handful) so that the record company and sometimes the producer could check the quality of the final cut. I remember rejecting some of those in my time! Once the test pressings are approved, promotion copies are pressed (usually a couple of hundred) and sent to radio stations, journalists etc for reviews in advance of the release date. The promotion copies (which don't attract copyright payments or tax) are sometimes sub-standard compared to the final pressings, as the first of these are sometimes run off at the same time as the test pressings. These are known as "white labels" because they're pressed with a blank white label; normal promotion copies are pressed with specially printed labels that include track and performer details, catalogue number and record logo. Sometimes instead, a quantity of final pressings are kept aside and labels stuck on marking them as "Promotional Copy".
As far as values go, the acetates are worth the most (acetates of Beatles songs go for astronomical amounts) and then the value reduces as the process goes on and more copies are produced at each stage.
Nowadays things are rather different with CD-Rs replacing the acetates, white labels and test pressings.
Once the album was completed and approved by producer and performer, the master tape was sent to the cutting room and a master stamper produced. This was used to make "test pressings" (often only a handful) so that the record company and sometimes the producer could check the quality of the final cut. I remember rejecting some of those in my time! Once the test pressings are approved, promotion copies are pressed (usually a couple of hundred) and sent to radio stations, journalists etc for reviews in advance of the release date. The promotion copies (which don't attract copyright payments or tax) are sometimes sub-standard compared to the final pressings, as the first of these are sometimes run off at the same time as the test pressings. These are known as "white labels" because they're pressed with a blank white label; normal promotion copies are pressed with specially printed labels that include track and performer details, catalogue number and record logo. Sometimes instead, a quantity of final pressings are kept aside and labels stuck on marking them as "Promotional Copy".
As far as values go, the acetates are worth the most (acetates of Beatles songs go for astronomical amounts) and then the value reduces as the process goes on and more copies are produced at each stage.
Nowadays things are rather different with CD-Rs replacing the acetates, white labels and test pressings.
Steve Sidoruk said:
This is the earliest test pressing that I could find in my TJB collection. I do have a monaural promo copy of Christmas Album - not sure without checking how many promo copies I have of albums between SP 4110 and SP 4166 or after.
Wanna sell it?
I guess I have to start hitting the shows!- Status
