A little more, probably pointless, detail.
This recording was made in that days when everything was recorded on tape, mixed on tape, and a master was created on tape to be sent to the LP pressing plants. If you had a major hit, many copies of the master were made, and sent to the pressing plants around the world.
Tape is and was always subject to speed variations. And worse, at every step of the process when a new transfer of the music was made, you could get a variation. Mostly this was not too much of an issue. The pressing master was mixed with the understanding that LP was the final media. This led to the mixdown being done in a manner that took into account the foibles of LP format. LPs roll off the top end, and have a limited dynamic range at some frequencies. Bass cannot be mixed far from centre in a stereo mix otherwise the stylus will simply jump out of the groove. And so on.
When CDs first came out many were created by simply taking the LP pressing mix and digitising it. Often these were not even the true master tape, but one of the pressing copies. Sometimes this sounded rather horrid, as the mix had all the colouration intended to compensate for the LP perfectly reproduced. Further, the mix didn’t really take advantage of the CDs advantages (ie better signal to noise and frequency response.)
But in here you would occasionally get ridiculous mistakes. Like running the tape machine at not quite the right speed, which would freeze onto the digital media that wrong speed. Sometimes that one digitisation would get used and reused. Sent to CD pressing plants around the world, and maybe used for compilations and other uses. Best example of that I have is Miles Davis’ Kind of Blue. It was issued originally on CD about a semitone out.
If you ave access to the original recordings - ie the multi-track “masters” from which the final recording was made, it is possible to work miracles. It is now possible to recover the sound from those tapes with significantly better fidelity than was ever achieved when they were made. One of the really interesting tricks is to make a very wide bandwidth recording - one that includes the bias oscillator frequency. This provides a stable sample clock that allows exact recovery of the sound, with removal of essentially all frequency shift artefacts. Most importantly, not just tape speed variations but scrape flutter - a very insidious distortion all tape recorders are subject to, where the tape running across the tape heads has high frequency small changes in speed due to binding and releasing. These distortions can be processed out of the digitised result. If you have the multitrack originals you can then remix the recording to achieve a result that is better than anyone has ever heard before. The big difficulty is in not being tempted to produce a full “remix” that intentionally sounds different.
The same technique can be applied to the final mixdown tapes if the original multi-track has been lost. But obviously one entire generation of scrape flutter and other nasties are irrevocably baked into this.
In modern parlance, digital recordings are subject to a final “mastering” phase. This is something new, and was not done in the days of tape. Here the final stereo mix is created by the mixing engineer, and sent to someone who is responsible for the final tweaks to the overall sound. So subtle changes in equalisation, compression and the like. Sadly, for popular music, the compression part of this can be vastly overdone. The “make it pump” and “make it sound louder than everything else” demands on the mastering engineer often lead to results that they are not proud of at all, but are what the customer demanded. aka “The Loudness Wars.”
You can go back further. Some of the old 78s can be amazing. Some of the big band stuff, where the musicians were consummate professionals and didn’t need mixing at all, as they understood how to do it for real in real time when performing. A mono recording on a 78 can have remarkable frequency response and dynamic range if it was made once the general principles of audio electronics were nailed. Very careful transcription from these old 78s to digital format, and very delicate processing can yield revelations.