The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus*
- A superb Liberty pressing of Canned Heat's debut LP with Double Plus (A++) sound from start to finish
- You won't believe how rich, Tubey Magical, big, undistorted and present this copy is (until you play it anyway)
- Comprised entirely of blues covers such as Muddy Waters’ "Rollin’ and Tumblin’" and Robert Johnson’s "Dust My Broom"
- Problems in the vinyl are sometimes the nature of the beast with these early pressings - there simply is no way around them if the superior sound of vintage analog is important to you
- 4 stars: "The dearth of original material on Canned Heat was less of a result of any songwriting deficiencies, but rather exemplifies their authentic renderings of traditionals such as the open-throttled boogie of 'Rollin' and Tumblin''..."
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*NOTE: There is a stitch that plays 18 times lightly about 1/2 way into track 1 on side 2, "Dust My Broom."
Vintage covers for this album are hard to find in exceptionally clean shape. Most of the 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
This vintage Liberty 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 Canned Heat 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 1967
- 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.
Standard Operating Procedures
What are the criteria by which a record like this 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, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, and so on down through the list.
When we can get all, or most all, of the qualities above to come together on any given side we provisionally award it a grade of "contender." Once we’ve been through all our copies on one side we then play the best of the best against each other and arrive at a winner for that side. Repeat the process for the other side and the shootout is officially over. All that’s left is to see how the sides matched up.
Record shootouts may not be rocket science, but they're a science of a kind, one with strict protocols developed over the course of many years to ensure that the sonic grades we assign to our Hot Stampers 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 our Hot Stamper pressing -- or your money back.
What We're Listening For On Canned Heat
- 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 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.
- Rollin’ And Tumblin’
- Bullfrog Blues
- Evil Is Going On
- Goin’ Down Slow
- Catfish Blues
- Dust My Broom
- Help Me
- Big Road Blues
- The Story Of My Life
- The Road Song
- Rich Woman
AMG 4 Star Review
This debut long-player from Canned Heat was issued shortly after their appearance at the Monterey International Pop Music Festival. That performance, for all intents and purposes, was not only the combo's entrée into the burgeoning underground rock & roll scene, but was also among the first high-profile showcases to garner national and international attention. The quartet featured on Canned Heat (1967) includes the unique personnel of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Bob "The Bear" Hite (vocals), and Frank Cook (drums). Cook's tenure with the Heat would be exceedingly brief, however, as he was replaced by Aldolfo "Fido" Dela Parra (drums) a few months later.
Although their blues might have suggested that the aggregate hailed from the likes of Chicago or Memphis, Canned Heat actually formed in the Los Angeles suburb of Topanga Canyon, where they were contemporaries of other up-and-coming rockers Spirit and Kaleidoscope. Wilson and Hite's almost scholarly approach created a unique synthesis when blended with the band's amplified rock & roll. After their initial studio sessions in April of 1967 produced favorable demos, they returned several weeks later to begin work in earnest on this platter.
The dearth of original material on Canned Heat was less of a result of any songwriting deficiencies, but rather exemplifies their authentic renderings of traditionals such as the open-throttled boogie of "Rollin' and Tumblin'" -- which is rightfully recognized as having been derived from the Muddy Waters arrangement. Similarly, a rousing reading of Robert Johnson's "Dust My Broom" is co-credited to Elmore James. Blues aficionados will undoubtedly notice references to a pair of Howlin' Wolf classics -- "Smokestack Lightning" as well as "I Asked for Water (She Gave Me Gasoline)" -- as part of the rambling "Road Song."
While decidedly more obscure to the casual listener, Eddie "Guitar Slim" Jones "Story of My Life" is both a high point on this recording, as well as one of the fiercest renditions ever committed to tape. Until a thorough overhaul of Canned Heat's catalog materializes, this title can be found on the Canned Heat/Boogie With Canned Heat (2003) two-fer that couples this title with their 1968 follow-up.