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Benson, George - Breezin' - White Hot Stamper

The copy we are selling is similar to the one pictured above.

White Hot Stamper

George Benson
Breezin'

Regular price
$349.99
Regular price
Sale price
$349.99
Unit price
per 
Availability
Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus

Side Two: Mint Minus Minus*

  • Breezin' finally returns to the site with Shootout Winning Triple Plus (A+++) sound or very close to it throughout
  • Tubey Magical richness and plenty of note-like bass are two of the important qualities that separate the winners from the also-rans, but smooth, grain-free, present vocals for Masquerade are a big part of the best pressings too, so make that three important qualities
  • This copy will blow the doors off your old copy or any MoFi pressing — guaranteed!
  • It’s got all the elements this smooth masterpiece needs to come to life today, almost 40 years later if you can believe it
  • There’s tons of energy, strong presence, excellent bass and a huge soundfield with real depth
  • You hear right into the music, something that is only possible on the most transparent copies

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*NOTE: On side 2, there is a mark that plays 11 times, mostly lightly, at the start of track 1.

This album features the huge hit “This Masquerade” and lots of other strong material as well. Benson is at the top of his game, with blazing guitar lines accompanied by his scat vocals at many times. No one else ever did music like this so well again, in our humble opinion.

This vintage Warner Brothers 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 Breezin' 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 1976
  • 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.

Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren't veiled or smeary of course. So many things can go wrong on a record! We know, we've heard them all.

Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.

Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.

What We're Listening For on Breezin'

  • Energy for starters. What could be more important than the life of the music?
  • 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.

Vinyl Condition

Mint Minus Minus and maybe a bit better 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.

Side One

  • Breezin’
  • This Masquerade
  • Six to Four

Side Two

  • Affirmation
  • So This Is Love?
  • Lady

AMG Review

All of a sudden, George Benson became a pop superstar with this album, thanks to its least representative track. Most of Breezin’ is a softer-focused variation of Benson’s R&B/jazz-flavored CTI work, his guitar as assured and fluid as ever with Claus Ogerman providing the suave orchestral backdrops and his crack then-working band (including Ronnie Foster on keyboards and sparkplug Phil Upchurch on rhythm guitar) pumping up the funk element. Yet it is the sole vocal track (his first in many years), Leon Russell’s “This Masquerade” — where George unveiled his new trademark, scatting along with a single-string guitar solo — that reached number ten on the pop singles chart and drove the album all the way to number one on the pop (!) LP chart.