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)
- Boasting KILLER Shootout Winning Triple Plus (A+++) grades or close to them from start to finish, this early Columbia pressing is one of the BEST we have ever heard - fairly quiet vinyl too
- The sound here is tonally Right On The Money - big, rich and Tubey Magical, with plenty of driving bass
- Those of you who are familiar with this record will not be surprised to learn that these shootouts are tough - very few copies are any better than mediocre
- 5 stars: "Few albums have been so appropriately named as Aerosmith's 1976 classic Rocks... Aerosmith produced a superb follow-up to their masterwork Toys in the Attic, nearly topping it in the process... out of all their albums, Rocks did the best job of capturing Aerosmith at their most raw and rocking."
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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 Rocks 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 1976
- 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 Rocks
- 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 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 originals.
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.
- Back In The Saddle
- Last Child
- Rats In The Cellar
- Sick As A Dog
- Nobody's Fault
- Get The Lead Out
- Lick And A Promise
- Home Tonight
AMG 5 Star Rave Review
Few albums have been so appropriately named as Aerosmith's 1976 classic Rocks... Aerosmith produced a superb follow-up to their masterwork Toys in the Attic, nearly topping it in the process. Many Aero fans will point to Toys as the band's quintessential album (it contained two radio/concert standards after all, "Walk This Way" and "Sweet Emotion"), but out of all their albums, Rocks did the best job of capturing Aerosmith at their most raw and rocking. Like its predecessor, a pair of songs have become their most renowned -- the menacing, hard rock, cowboy-stomper "Back in the Saddle," as well as the downright viscous funk groove of "Last Child."
Again, even the lesser-known tracks prove essential to the makeup of the album, such as the stimulated "Rats in the Cellar" (a response of sorts to "Toys in the Attic"), the Stonesy "Combination," and the forgotten riff-rocker "Get the Lead Out." Also included is the apocalyptic "Nobody's Fault," the up-and-coming rock star tale of "Lick and a Promise," and the album-closing ballad "Home Tonight." With Rocks, Aerosmith appeared to be indestructible.