The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus*
Side Two: Mint Minus Minus
- This vintage A&M pressing boasts STUNNING Nearly Triple Plus (A++ to A+++) sound from the first note to the last - just shy of our Shootout Winner
- Tubey Magical, rich, smooth, sweet - everything that we listen for in a great record is on display for anyone to hear (anyone with audiophile equipment that is)
- The sound is clean, clear, and spacious, with an abundance of two qualities crucial to the sound of The Carpenters: present, breathy vocals
- "The Carpenters, with their finger on the pulse of the changing pop fashions as always, were one of the first acts to identify the new appetite for fond reminiscence of times gone by, and brilliantly combined the past and the present with their fifth album, Now & Then..."
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $150
*NOTE: There is minor groove wear that plays lightly for approximately 5 revolutions about 1/2 way into track 2 on side 1, "This Masquerade."
These Nearly White Hot Stamper pressings have top-quality sound that's often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers ("relative" meaning relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don't agree, please feel free to return the record for a full refund, no questions asked.
This vintage A&M 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 Now & Then 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 1973
- 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.
Recently we did one of our regular shootouts for Now & Then, using pressings we know from experience to have the potential for Hot Stamper sound. We cleaned them as carefully as we always do. Then we unplugged everything in the house we could get away with, carefully warmed up the system, Talisman'd it, found the right VTA for our Triplanar arm (by ear of course) and proceeded to spend the next couple of hours playing copy after copy on side one, after which we repeated the process for side two.
If you have five or ten copies of a record and play them over and over against each other, the process itself teaches you what's right and what's wrong with the sound of the album. Once your ears are completely tuned to what the best pressings do well that the others do not do as well, using a few specific passages of music, it will quickly become obvious how well any given pressing reproduces those passages.
The process could not be more simple. The first step is to go deep into the sound. There you find something special, something you can't find on most copies. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.
What We're Listening For On Now & Then
- 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.
- This Masquerade
- Jambalaya (On The Bayou)
- I Can't Make Music
- Fun, Fun, Fun
- The End Of The World
- Da Doo Ron Ron (When He Walked Me Home)
- Deadman's Curve
- Johnny Angel
- The Night Has A Thousand Eyes
- Our Day Will Come
- One Fine Day
- Yesterday Once More/Reprise