The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
Side Three: Mint Minus to Mint Minus Minus
Side Four: Mint Minus to Mint Minus Minus*
- This Columbia 360 label pressing boasts outstanding Double Plus (A++) sound from first note to last - fairly quiet vinyl too
- All FOUR sides here were doing everything right -- clean, clear, spacious and present with a big bottom end, just the right sound for this raw live blues-rock music
- Great material to be found here, including covers of well-known tracks by Paul Simon, The Band, and Traffic
- 4 stars: "One of the seminal live albums of the late '60s... The idea of musical spontaneity both in live performance and in the recording studio had reached a certain apex in 1968... But it was the union of Bloomfield and Kooper that can truly claim an origination of the phenomenon, and this album takes it to another level entirely."
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $75
*NOTE: On side four, a mark makes 25 moderate pops 3/4 of the way through Track 1, Dear Mr. Fantasy.
Vintage covers for this album are hard to find in clean shape. Most of them have quite a bit of ringwear, some seam wear and some edge wear. If you are picky about your covers, we probably cannot supply you with a nice cover for this album, they are just too rare.
Outstanding sound for this double LP of superb live blues-rock! We rarely have a copy of this title on the site, so if you're a fan of Super Session, you should jump on this one right away. There's some great material to be found here, including covers of well-known tracks by Paul Simon, The Band, and Traffic. Some of the tracks here (recorded on the second night) feature none other than Carlos Santana!
What the best sides of 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 1969
- 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're Listening For on Live Adventures of Mike Bloomfield & Al Kooper
- 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 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.
The 59th Street Bridge Song (Feelin' Groovy)
I Wonder Who
Her Holy Modal Highness
Together 'Til The End Of Time
That's All Right
Opening Speech - Al Kooper
Sonny Boy Williamson
No More Lonely Nights
Dear Mr. Fantasy
Don't Throw Your Love On Me So Strong
Finale - Refugee
One of the seminal live albums of the late '60s, Live Adventures of Al Kooper & Mike Bloomfield was a natural, organic offshoot of the hugely successful Super Session album from 1968, which contained performances by both of these groundbreaking musicians, as well as Stephen Stills. The idea of musical spontaneity both in live performance and in the recording studio had reached a certain apex in 1968, and spontaneous excursions by musicians such as Jimi Hendrix, Steve Winwood, and the Southern California musical covenant that eventually became Crosby, Stills, Nash & Young, as well as a host of others, were indeed a sign of the times. But it was the union of Bloomfield and Kooper that can truly claim an origination of the phenomenon, and this album takes it to another level entirely.
- Choosing a selection results in a full page refresh.
- Press the space key then arrow keys to make a selection.