Side One: Mint Minus Minus*
Side Two: Mint Minus Minus
- With a Shootout Winning Triple Plus (A+++) side two, mated with an outstanding Double Plus (A++) side one, you'll be shocked at how good this pressing sounds
- Forget whatever dead-as-a-doornail Heavy Vinyl record they're making these days - if you want to hear the Tubey Magic, size and energy of this wonderful album, a vintage pressing like this one is the way to go
- 4 stars: "...one reason Changes... is his best record yet is simply the sound... The main reason it's Buffett's best is the songs, most of which he wrote. Buffett has always been a good songwriter when he had the time to apply himself, and he's been developing a persona that reaches its culmination here."
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- On side one, a mark makes 6 loud pops at the beginning of Track 3, Banana Republics.
Sometimes the copy with the best sound is not the copy with the quietest vinyl. The best sounding copy is always going to win the shootout, the condition of its vinyl notwithstanding. If you can tolerate the problems on this pressing you are in for some amazing Jimmy Buffett music and sound. If for any reason you are not happy with the sound or condition of the album we are of course happy to take it back for a full refund, including the domestic return postage.
Shockingly good sound for this Jimmy Buffett classic, featuring Margaritaville!
Look, we're as surprised as anyone that this album has the potential to sound like this. We picked up a few copies for the heck of it (I believe that's exactly in the Jimmy Buffett spirit) and were shocked at what we heard on the best of them. Most of them were a complete waste of time, but we learned enough to start the hunt and finally get this shootout rockin'.
It took some time, but we're pretty happy to present a knockout copy of this album sure to please not only his Parrothead fan base but anyone who enjoys this breezy country rock and wonderful audiophile 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 amazing sides such as these 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
What We're Listening For on Changes in Latitudes, Changes in Attitudes
- 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 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.
Changes In Latitudes, Changes In Attitudes
Wonder Why We Ever Go Home
In The Shelter
Miss You So Badly
One reason why Jimmy Buffett's sixth album, Changes in Latitudes, Changes in Attitudes, is his best record yet is simply the sound. Buffett's move from Don Gant, who produced his last four albums, to Norbert Putnam is a serious upgrade. Putnam, a bassist by trade with a talent for string arranging, specializes in working in Nashville with artists who don't quite belong in Nashville. His production of Eric Andersen's Blue River resulted in a masterpiece, and he's done quality work with the likes of Joan Baez, Neil Young, and Dan Fogelberg, creating a country-pop sound that achieves the crossover such artists crave. Putnam is a perfect fit for Buffett; he gives the music the polish Buffett's always needed. But that only explains the reason why the album works so well sonically. The main reason it's Buffett's best is the songs, most of which he wrote. Buffett has always been a good songwriter when he had the time to apply himself, and he's been developing a persona that reaches its culmination here.
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