The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus (often quieter than this grade)*
Side Two: Mint Minus Minus (often quieter than this grade)
- An incredible copy that boasts a Shootout Winning Triple Plus (A+++) side one mated to an outstanding Double Plus (A++) side two - fairly quiet vinyl too
- This is the sound of the Master Tape - worlds better than what most record lovers have ever had the privilege of hearing
- Offramp held the Number One spot on the Jazz Album charts for 16 weeks back in 1982
- Marks in the vinyl are sometimes the nature of the beast with these vintage LPs - there simply is no way around them if the superior sound of vintage analog is important to you
- 4 1/2 stars: "... the thoughtful Metheny makes excellent use of space, choosing his notes wisely and reminding listeners that, while he has heavy-duty chops, he's not one to beat everybody over the head with them."
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*NOTE: There is a mark that plays 6 times at a moderate level about 1/3 of the way into track 2 on side 1, "Are You Going With Me?"
This superb pressing of Metheny's ECM Chart-Topping release from 1982 shows you just how well recorded the album is. We don't know how you feel about ECM recordings in general but we tend to think they are pretty lifeless and boring. Not so here!
We guarantee this copy has more CLARITY, ENERGY and DYNAMICS than any pressing of the album you have ever heard. Where is the muck? The blurry bottom end? The smear? All gone. And the bass is monstrous.
If you're a fan of this 4 1/2 Star album, this copy will show you what you've surely been missing all these years -- the kind of sound that lets this music breathe.
This vintage ECM 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 Offramp 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 1982
- 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. 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 Offramp
- 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, full-bodied 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.
- Are You Going With Me?
- Au Lait
- The Bat Part II
AMG 4 1/2 Star Review
As cerebral as Metheny gets on such atmospheric pieces as "Are You Going with Me?" and "Au Lait," his playing remains decidedly lyrical and melodic.
Clearly influenced by Jim Hall, the thoughtful Metheny makes excellent use of space, choosing his notes wisely and reminding listeners that, while he has heavy-duty chops, he's not one to beat everybody over the head with them. Even when he picks up the tempo for the difficult and angular title song, he shuns empty musical acrobatics.
Throughout, Metheny enjoys a powerful rapport with keyboardist Lyle Mays, who also avoids exploiting his technique and opts for meaningful storytelling.