The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus*
- This pressing boasts very good Hot Stamper sound from the first note to last
- The overall sound here is rich, full-bodied and musical with lots of Tubey Magic and a solid bottom end; the perfect sound for this laid-back blues-rock
- "While Cale remains the ultimate laid-back Blues artist, he still manages to conjure up the spirit of Country, Soul and subdued Funk in each of the tracks on 5, making this album one of the best loved in his catalog."
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*NOTE: On side two, a bubble makes 4 light pops at the end of Track 3, Let's Go To Tahiti.
This vintage Shelter 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 5 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 1979
- 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 are sonic qualities by which a Pop or Rock record -- any Pop or Rock record -- 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, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.
When we hear a fair number of the qualities mentioned above on the side we're playing, we will provisionally award that side a Hot Stamper grade, which is often revised over the course of the shootout as we hear what the other copies are doing. Once we've been through all of our side ones, we then play the best of the best of them against each other to arrive at an official Shootout Winner.
Other copies have their grades raised or lowered depending on how they sound relative to the shootout winner, the record that was doing it all (or as much as possible - even some Triple Plus copies have been known to have a minor shortcoming or two). Repeat the process for the other side and the shootout is officially over. All that's left is to see how the sides of each copy match up.
That's why the most common grade for a White Hot stamper pressing is Triple Plus (A+++) on one side and Double Plus (A++) on the other. Finding the two best sounding sides on the same LP does happen, but it sure doesn't happen as often as we would like (!) -- there are just too many variables in the mastering and pressing processes to ensure consistent quality.
It may not be rocket science, but it's a science of a kind, one with strict protocols that we've developed over the course of many years to ensure 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 this Hot Stamper pressing -- or your money back.
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.
- Thirteen Days
- Boilin' Pot
- I'll Make Love To You Anytime
- Don't Cry Sister
- Too Much For Me
- Sensitive Kind
- Let's Go To Tahiti
- Katy Kool Lady
- Fate Of A Fool
As Cale's influence on others expanded, he just continued to turn out the occasional album of bluesy, minor-key tunes. This one was even sparer than usual, with the artist handling bass as well as guitar on many tracks. Listened to today, it sounds so much like a Dire Straits album, it's scary. (Mark Knopfler & Co. had appeared in 1978, seven years after Cale.)