The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- This copy of L&M's debut and Masterpiece boasts outstanding Double Plus (A++) grades from start to finish - exceptionally quiet vinyl too
- The sound is big, lively, open and clear with Tubey Magical richness that only these good vintage pressings can show you
- One of our favorite albums, with every improvement in the system this one just keeps getting better and better
- Every track on side one is brilliant, from Nobody But You, to Danny's Song, to Vahevala, to the ending of the Trilogy with Peace of Mind
- 4 1/2 stars: "With their infectious blend of country, folk, rock and Caribbean music, L&M started out at the top of their game"
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Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
We love this album and have been playing it regularly since it came out in 1972. That's a long time, and the good news is it just keeps getting better and better, like all the better records in your collection should.
This vintage Columbia 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 Sittin' In 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.
Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings (and especially from modern remasterings). Play I Got the Blues to hear exactly what we mean.
What We're Listening For on Sittin' In
Practically any copy you find will have a bit of a boost in the bottom end. The kick drum really kicks on this album, more than it should in fact.
There is also a sibilance problem with the recording. Some copies keep it under control, while other, more crudely mastered and pressed ones, suffer greatly from spitty vocals, especially noticeable on Danny's Song. The better copies will tend to have the "cleanest", least-objectionable sibilance.
The best copies manage to keep the EQ anomalies within bounds, while giving us full-bodied pianos; rich, lively vocals, full of presence and brimming with enthusiasm; harmonically-rich guitars; and a three-dimensional soundstage, revealing the space around them all.
Testing with/for Sibilance
We've known for decades how good a test sibilance is for tables, cartridges, and arms. Sibilance is a bitch. The best pressings, with the most extension up top and the least amount of aggressive grit and grain mixed in with the music, played using the highest quality, most dialed-in front ends, will keep sibilance to a minimum. VTA, tracking weight, azimuth and anti-skate adjustments are critical to reducing the spit in your records.
We discuss the sibilance problems of MoFi records all the time. Have you ever read Word One about this problem elsewhere? I didn't think so.
Audiophiles, and, shamefully, the expert audiophile reviewers who should know better, just seem to put up with these problems. Or ignore them, or -- even worse -- simply fail to recognize them at all.
Play around with your table setup for a few hours and you will no doubt be able to reduce the severity of the sibilance on your favorite test and demo discs (this one will do just fine as a test disc).
Your other records will thank you for it too, especially your Beatles records. Many Beatles pressings are spitty, and the MoFi Beatles pressings are REALLY spitty. Of course, MoFi fans never seem to notice this fact. Critical listening skills and MoFi pressings are rarely found together. You either have one or the other.
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.
We consider Loggins and Messina's debut a certifiable Masterpiece.It's an absolute Must Own for fans of the band and a recording that should be part of any serious Popular Music Collection. Others that belong in that category can be found here.
Nobody But You
- Lovin' Me
- To Make a Woman Feel Wanted
- Peace of Mind
Back to Georgia
House at Pooh Corner
Listen to a Country Song
Same Old Wine
Rock 'N Roll Mood
This debut album was credited to Kenny Loggins with Jim Messina because the project had begun as a solo record by Loggins being produced by Messina. By the time it was finished, however, Messina had written or co-written six of the 11 songs, contributed "first guitar," and shared lead vocals on many tracks. Messina's "Nobody but You" and "Vahevala," co-written by Loggins' second cousin, Dave Loggins, were the singles chart entries, but today everybody remembers the album for Loggins' "House at Pooh Corner," which had earned Loggins his record contract, and "Danny's Song," which Anne Murray took into the Top Ten the following year.
The only thing wrong with this record is that it was too perfect — with their infectious blend of country, folk, rock and Caribbean music, L&M started out at the top of their game, and although they were able to match some of the material and performances on later records, the team never got any better than this.
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