The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- A Flick of the Switch like you've never heard, with very good Hot Stamper sound from start to finish
- We guarantee there is dramatically more Tubey Magic, size and rock and roll energy on this vintage pressing than others you've heard, and that's especially true of whatever dead-as-a-doornail Heavy Vinyl pressing is currently available
- 5 stars: "...there is still something perversely reassuring about the brute, Godzilla-like stomp of AC/DC's rhythm section, the industrial guitar crunch of Angus and Malcolm Young and the macho bark of singer Brian Johnson."
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Vintage covers for this album are hard to find in exceptionally clean shape. Most of the 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
This vintage Atlantic 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 Flick of the Switch 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 even as late as 1983
- 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.
Classic Rock is the heart and soul of our business. Finding quiet, good sounding pressings of Classic Rock albums is what we devote the bulk of our resources (time and money) to, and if we can be indulged a self-compliment, it's what we do best.
No one is even bothering to attempt the kind of shootouts we immerse ourselves in every day. And who can blame them? It's hard to assemble all the resources it takes to pull it off. There are a huge number of steps a record must go through before it finds itself for sale on our site, which means there are about twenty records in the backroom for every one that can be found on the site.
If the goal is to move product this is a very bad way to go about it. Then again, we don't care about moving product for the sake of moving product. Our focus must be on finding, cleaning and critically evaluating the best sounding pressings, of the best music, we can get our hands on.
What We're Listening For On Flick of the Switch
- 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 -- Tony Platt in this instance -- 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.
- Rising Power
- This House Is On Fire
- Flick Of The Switch
- Nervous Shakedown
- Guns For Hire
- Deep In The Hole
- Bedlam In Belgium
- Brain Shake
Rolling Stone 5 Star Rave Review
With Flick of the Switch, the Australian mega-bar-band AC/DC has now made the same album nine times, surely a record even in heavy-metal circles. Intellectually, it's a dubious achievement, of course. But there is still something perversely reassuring about the brute, Godzilla-like stomp of AC/DC's rhythm section, the industrial guitar crunch of Angus and Malcolm Young and the macho bark of singer Brian Johnson.
Produced by the band, Flick of the Switch isn't quite the monster blowout that 1980's Back in Black was, and the Young's retooling of old riffs for new hits also teeters on self-plagiarism at times. But how can you argue with a Molotovcocktail hour that incudes such crass fun as "This House Is on Fire" and the whiplash rocker "Brain Shake"? Sure, if you've heard one AC/DC album, you've heard them all. Flick of the Switch makes for one hell of a crash course, though.
- David Fricke, October 27, 1983