OK, so a German pressing (Alsdorf), not an early (first/second) press. I don’t know Rumours so not sure without looking if it was a German release or just a UK one pressed in Germany. I’ll have a looksee.
You have two copies?
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Newer one is 180. So not of any significant interest!
Alsdorf (sez Discogs) was not stamped on records before 1981, so it’s at least an 80’s reissue.
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Steve this could become a very interesting new thread. How to use Discogs if you have time to spare 
ATB Graham.
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Me? Lol…
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Okay, so how do you know from that, that it’s a reissue?
You can see above that under format it says ‘reissue’. You can also look back to the original release date and find the album’s identifying characteristics and see how they differ (with FM there will probably be details of various pressing plants in the US). When LPs like those of FM were reissued they were often under a new catalogue number. You will also often find different catalogue numbers and labels for different countries. The images can also be a very useful source of information. It’s very simple really and just requires an attention to detail, with an understanding that the run out numbers in the dead wax are crucial in distinguishing pressings.
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Exactly! Thanks @CliveB.
It’s a good tool for collectors and music lovers.
I use Discogs routinely, because different pressing plants and pressings can sound better, brilliant, or worse for the same album. I find Discogs invaluable for checking matrices etc. Not foolproof, but nothing is. It’s an interesting rabbit hole at the very least!
Maybe a separate thread would be useful…
Given the obsessive nature of ‘audiophilia’, I’d assumed most members were Discog nuts too…
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More simply, it’s written 1983 release, the album is from 1977.
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I think a sticky new thread for Discogs discussion might be required.
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But it will still be a pure analogue pressing with that date 
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Not sure. The first cd appeared in 1982, if I don’t write bulls…
Gorgeous. All of them.
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Possibly, the first Rumours CD was 1983 
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One week in and I’ve been surprised in several ways by my new LP12.
Firstly the 17 year old Naim ARO. I owned one 30 years ago for close to a decade but it’s full potential was obviously not being fully realised. With the Keel and Tangerine Stiletto bonding the superb fluid midrange is even better, more open and resolved now. The bass is tight, more tuneful and in great balance. Talk about standing the test of time. What a great tonearm it is!
Secondly I don’t recall my old LP12 excelling per sé with Opera and Classical. However, I listened to Verdi’s “La Forza Del Destino” yesterday all the way through. The vocal and orchestral clarity and separation with everyone/thing sitting in it’s own time and space with low compression was the best I’ve heard the album. The SME 20/2 wasn’t as good with this genre of music and it really should have been given it’s reputation for neutrality and stability. Go figure!
I understand now why so many of you guys have stuck with LP12 (and ARO) through many upgrades. I won’t be selling this deck.
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You’ve owned a number of top flight TTs, with quite different design approaches. What do you think it is about the LP12 that allows it to perform so well? On paper it isn’t anything particularly dramatic, at least compared to SME etc, do you think it’s a case of multiple improvements over the years? Or frankly you don’t care, it sounds great, and that’s just fine 
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Good questions G. I try to factor in going active with the 500´s. I can hear how the streaming side has improved with that change but its different to the way this LP12 betters the Solstice and SME (I’ve also owned a Well Tempered and a Voyd)
All I can add is that Peter S told me that the Keel was just what the ARO needed sound wise. He also believes that the bond between sub chassis and top plate is very influential to the sound of the deck. Maybe I’ve just dropped on to a deck with great synergy between components (it is more or less the same as PS uses at home).
But as you touched on I really don’t care too much about the how or why. This deck really is top draw sonically. The best that I’ve owned. I just want to communicate my findings to those interested.
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I found my SME deck to be fantastic on the lower end, but slightly layed back sounding, even with the dynavector drt xv1t cartridge.
Don’t get me wrong it was a lovely sounding thing, but if you like speed and top flight dynamics, i don’t think the SME decks are for you.
It’s probably the all metal that’s tieing the sound up nicely for you now.
As my turntable is machined from a billet and it seems to offer a great solid bass and sound quality at the same time.
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You may well be on to something relevant. The aluminium billet seems to add tremendous focus.
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