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Atkins, Chet - More Of That Guitar Country - Super Hot Stamper
Atkins, Chet - More Of That Guitar Country - Super Hot Stamper
Atkins, Chet - More Of That Guitar Country - Super Hot Stamper

The copy we are selling is similar to the one pictured above.

Super Hot Stamper

Chet Atkins
More Of That Guitar Country

Regular price
$169.99
Regular price
Sale price
$169.99
Unit price
per 
Availability
Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus

Side Two: Mint Minus Minus

  • One of Chet's biggest albums from the '60s, More Of That Guitar Country, is back in all its guitar-pickin' glory
  • With two Double Plus (A++) sides, this copy had the sound we were looking for
  • Rich, smooth, sweet, full of ambience, dead-on correct tonality — it’s all here
  • Need a refresher course in tubey magic after playing too many modern recordings or remasterings? This record is overflowing with it
  • 4 stars: "The followup album to Guitar Country, More of That Guitar Country spawned a bigger hit than anything on its predecessor -- or anything in Chet Atkins' long career for that matter. ...[O]ne of Atkins' least-cluttered, mostly reined-in, and most musical albums of the mid-'60s, searching for good material wherever he can find it, even outside the cloistered world of Nashville."

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We owe a debt of gratitude to Harry Pearson for pointing out to us with his TAS Super Disc List what great recordings Chet Atkins was making back in the '50s and '60s, although I’m pretty sure anybody playing those albums would have no trouble telling after a minute or two that a great many of them are very special indeed.

But were audiophiles playing these kinds of records before Harry Pearson came along? Unlikely. In the '70s he practically single-handedly legitimized vintage pressings of all kinds for audiophiles to search out and enjoy.

This vintage 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 More Of That Guitar Country 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 1965
  • 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 and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.

Hi-Fidelity

What do we love about these vintage RCA Hot Stamper pressings? The timbre of every instrument is Hi-Fi in the best sense of the word. The instruments here are reproduced with remarkable fidelity. Now that’s what we at Better Records mean by “Hi-Fi”, not the kind of Audiophile Phony BS Sound that passes for Hi-Fidelity these days.

There’s no boosted top, there’s no bloated bottom, there’s no sucked-out midrange. There’s no added digital reverb (Patricia Barber, Diana Krall, et al.). The microphones are not fifty feet away from the musicians (Water Lily) nor are they inches away (Three Blind Mice).

This is Hi-Fidelity for those who recognize The Real Thing when they hear it. I’m pretty sure our customers do, and whoever picks this one up is guaranteed to get a real kick out of it.

What We're Listening For on More Of That Guitar Country 

  • 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 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.

Vinyl Condition

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.

Side One

    "Yakety Axe" (Boots Randolph, James Rich) – 2:04 "Back Up and Push" (Traditional; arranged by Chet Atkins) – 2:13 "Cloudy and Cool" (John D. Loudermilk) – 2:19 "Alone and Forsaken" (Hank Williams) – 2:41 "Old Joe Clark" (Traditional; arranged by Chet Atkins) – 2:08 "Catch the Wind" (Donovan) – 2:03

Side Two

    "How's the World Treating You" (Atkins, Boudleaux Bryant) – 2:39 "Understand Your Man" (Johnny Cash) – 2:02 "Letter Edged in Black" (Traditional) – 2:06 "My Town" (Atkins) – 2:20 "Blowin' in the Wind" (Bob Dylan) – 2:24 "The Last Letter" (Rex Griffin) – 2:23

AMG Review

The followup album to Guitar Country, More of That Guitar Country spawned a bigger hit than anything on its predecessor -- or anything in Chet Atkins' long career for that matter.

That tune was "Yakety Axe" -- a retitled cover of Boots Randolph's "Yakety Sax," which itself was inspired by the Coasters' "Yakety Yak" -- a rapid-fire, barnyard-flavored tune that rose to number four on the country singles charts of 1965.

As it happens, this was a deceptively flamboyant leadoff track for one of Atkins' least-cluttered, mostly reined-in, and most musical albums of the mid-'60s, searching for good material wherever he can find it, even outside the cloistered world of Nashville.

With a subdued intro as a temporary decoy, "Old Joe Clark" gets exactly the kind of fingerpicking, fingerbusting performance fans expect from this guitarist.

The Johnny Cash hit "Understand Your Man" gets a neat, genteel, two-beat rendition that reminds one of its close resemblance to Bob Dylan's "Don't Think Twice, It's Alright" -- and Dylan himself is represented by an early (for Nashville) countrified cover of "Blowin' in the Wind."

Jerry Smith (piano) and Charlie McCoy (harmonica) are among the session regulars who keep the Nashville music machine running smoothly behind Atkins.