The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus*
- This outstanding pressing boasts solid Double Plus (A++) sound from start to finish
- The code has finally been cracked - this specific early Atco domestic pressing showed us a huge, rich, Tubey Magical Trafalgar we had no idea existed, mostly because all the British LPs we had on hand for the shootout were a joke next to it
- The lead single "How Can You Mend a Broken Heart?" was the first Bee Gees' No. 1 single in the United States
- 4 stars: "Trafalgar remains one of the Bee Gees’ most critically acclaimed albums and can be found within the pages of 1001 Albums to Hear Before You Die." - Rhino Records
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $75
*NOTE: On side two, a mark makes 8 moderate pops one-third of the way into Track 1, Trafalgar.
This vintage Atco pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.
What the best sides of Trafalgar have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1971
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We Listen For on Trafalgar
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
- How Can You Mend A Broken Heart
- The Greatest Man In The World
- It's Just The Way
- Somebody Stop The Music
- Don't Wanna Live Inside Myself
- When Do I
- Lion In Winter
- Walking Back To Waterloo
AMG 4 Star Review
The Bee Gees had entered the early '70s with a roaring success in the guise of "Lonely Days" and its accompanying album, which established their sound as a softer pop variant on the Moody Blues' brand of progressive rock. Trafalgar, which followed, carried the process further on what was their longest single LP release, clocking in at 47 minutes. The music all sounded meaningful, much of it displaying the same kind of faux-grandeur that the Moody Blues affected on their music of this era, the core group (playing pretty hard) acompanied by either Mellotron-generated orchestra or the real thing, with the group's soaring harmonies and Robin Gibb's quavaring lead vocals all over the place. As with 2 Years On's "Man for All Seasons," there was also one title ("Lion in Winter," featuring a startling falsetto performance) lifted from a recently popular film and play having to do with English history. It was all very beautifully produced and, propelled into record-store racks by the presence of "How Can You Mend a Broken Heart," the group's first No. 1 single, Trafalgar shipped very well initially. Nothing else on the record was remotely as memorable as the single, however, and its sales were limited. Trafalgar was also the handsomest and most elaborately designed of their albums, its cover reprinting Pocock's painting "The Battle of Trafalgar" and the interior gatefold containing a shot of the brothers enacting the scene of the death of Lord Nelson. It all imparted the sense of a concept album, though nothing in the music said so, except perhaps the finale, "Walking Back to Waterloo." Despite the hit single, the album showed the limits of the Bee Gees' talents as songwriters and of their appeal as album artists.