The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus Minus*
- This vintage Columbia 360 label pressing gives Tony the sound he deserves, with Double Plus (A++) grades on both of these early stereo sides
- Brilliant engineering by Frank Laico, the man who recorded I Left My Heart In San Francisco and Sketches of Spain, among others
- Tony Bennett was in fine form and still able to sing the hell out of these songs in 1969 – when you hear the quality of his voice on this very album you will perhaps appreciate the toll this century has taken on him
- Vintage record guys with top quality turntables – like us – get to hear Tony the way he should be heard, with his voice at the peak of its powers
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NOTE: A mark at the intro to track four on side two makes 5 soft ticks.
Vintage covers for this album are hard to find in exceptionally clean shape. Most of them 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, and it will probably be VG+.
If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
Everything that’s good about Vocal Recordings from the ’50s and ’60s is precisely what’s good about the sound of this record.
The huge studio the music was recorded in is captured faithfully here. The height, width and depth of the staging here are extraordinary. We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this.
Transparency and Tubey Magic are key to the sound of the orchestra and you will find both in abundance on these two sides.
Albums such as this live and die by the quality of their vocal reproduction. On this record Mr. Tony Bennett himself will appear to be standing right in your listening room! The space of your stereo room will seem to expand in all directions in order to accommodate them, an illusion of course, but nevertheless a remarkably convincing one.
On this record, like so many others you may have read about on the site, the right amount of Tubey Magic — and by that we mean a very healthy amount — makes all the difference.
Having done this for so long, we understand and appreciate that rich, full, solid 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, real Tony Bennett singing live in your listening room. The best copies have an uncanny way of doing just that.
What the Best Sides of I've Gotta Be Me 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 1969
- 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.
What We're Listening For on I've Gotta Be Me
- 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 -- legendary Columbia engineer Frank Laico in this case -- would have 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.
- 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.
- I've Gotta Be Me
- Over The Sun
- Play It Again, Sam
- What The World Needs Now Is Love
- Baby Don't You Quit Now
- That Night
- They All Laughed
- A Lonely Place
- Whoever You Are, I Love You
- Theme From "Valley Of The Dolls"