The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus*
Side Two: Mint Minus Minus
- Outstanding sound for this classic JJ Cale album - both sides earned Double Plus (A++) grades
- Cale fans take note: this early Shelter pressing was doing it most everything right, and clearly doing it better than many of the other copies we played
- Eric Clapton described the man as "one of the most important artists in the history of rock."
- 4 1/2 stars: "J.J. Cale's albums are so steeped in his introspective style that they become interchangeable. If you like one of them, chances are you'll want to have them all."
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $75
*NOTE: On side one, a mark makes 4 moderately light ticks during the outro to Track 1, Hey Baby.
Wikipedia lists his many styles as "Americana, Cajun, blues, swamp rock, country rock, Red Dirt, Tulsa Sound" but we think Americana is probably all you really need.
This vintage Shelter Records 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 Troubadour 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.
What We're Listening For on Troubadour
- 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.
- Hey Baby
- Travelin' Light
- You Got Something
- Ride Me High
- Hold On
- I'm A Gypsy Man
- The Woman That Got Away
- Super Blue
- Let Me Do It To You
- You Got Me On So Bad
AMG 4 1/2 Star Review
Producer Audie Ashworth introduced some different instruments, notably vibes and what sound like horns (although none are credited), for a slightly altered sound on Troubadour. But J.J. Cale's albums are so steeped in his introspective style that they become interchangeable. If you like one of them, chances are you'll want to have them all. This one is notable for introducing "Cocaine," which Eric Clapton covered on his Slowhand album a year later.
Although "Cocaine" would be a major hit for Clapton in 1977, the first single released by Cale from Troubadour in 1976 was the restless "Travelin' Light" with "Hey Baby" as the b-side. Critics from the music website Alltime Records reviewed the recording: "'Travelin' Light', with its funky James Burton–style guitar that Jimmy Page tried to copy on "The Crunge", along with great xylophones to fill out the sound – it moves and cooks and rolls and rocks and has just an absolutely earthy quality."