The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus*
- An original RCA pressing with STUNNING Shootout Winning Triple Plus (A+++) sound or close to it on both sides
- It also plays fairly quiet at Mint Minus Minus considering the blue vinyl
- Presley’s final studio album, released just a month before his death – not his best but there are a number of songs worth hearing here
- 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
- "For all of its slapped-together feel, however, Moody Blue held up. The title song, authored by Mark James (who’d previously written 'Suspicious Minds'), was just about as good a single as Elvis released in the 1970s, topping the country charts earlier in 1977; additionally, he did a superb reinterpretation of the George Jones hit 'She Thinks I Still Care.'"
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*NOTE: Tracks two and three on side two play a little noisier than M--.
Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable Elvis Presley singing live in your listening room. The best copies have an uncanny way of doing just that.
If you exclusively play modern repressings of older recordings (this one is now 46 years old), 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 less than one out of 100 new records do, if our experience with the hundreds we’ve played can serve as a guide.
This original RCA 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 Moody Blue 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 1977
- 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 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 ambience and space, and instruments will lack their full complement of harmonic information.
Elvis Shootout Criteria
What are the criteria by which a record like this should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, and on and on down through the list.
When we can get all, or most all, of the qualities above to come together on any given side we provisionally award it a grade of "contender." Once we’ve been through all our copies on one side we then play the best of the best against each other and arrive at a winner for that side. Repeat the process for the other side and the shootout is officially over. All that’s left is to see how the sides matched up.
It may not be rocket science, but it is a science of a kind, one with strict protocols that we’ve developed over the course of many years to insure that the results we arrive at are as accurate as we can make them.
The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing -- or your money back.
What We're Listening For On Moody Blue
- 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.
- Unchained Melody
- If You Love Me (Let Me Know)
- Little Darlin’
- He’ll Have To Go
- Let Me Be There
- Way Down
- Pledging My Love
- Moody Blue
- She Thinks I Still Care
- It’s Easy For You
The last Elvis Presley album released in the singer’s lifetime, Moody Blue has a somewhat checkered history, especially among fans. Issued two months before Presley died, the album sold moderately well until Presley died — then it soared up the charts to number three, as his most current album, and it ultimately sold two million copies. As to the music, the original ten-song album was a mixed bag of live recordings, interspersed with new studio work from the previous fall at Graceland.
For all of its slapped-together feel, however, Moody Blue held up. The title song, authored by Mark James (who’d previously written “Suspicious Minds”), was just about as good a single as Elvis released in the 1970s, topping the country charts earlier in 1977; additionally, he did a superb reinterpretation of the George Jones hit “She Thinks I Still Care.” “Little Darlin'” was almost more of a burlesque of the ’50s rock & roll standard than a real performance, but it is more than made up for by the presence of the Johnny Ace classic “Pledging My Love,” done with depth and sincerity.