The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- Superb sound on this original Capitol Turquoise Mono pressing, with solid Double Plus (A++) grades or close to them from first note to last
- Rich, smooth, sweet, full of ambience, dead on correct tonality, and wonderfully breathy vocals, not to mention boatloads of Capitol Tubey Magic - everything that we listen for in a great record is here (particularly on side two)
- Take this one home and play it against whatever audiophile pressings you own - it's guaranteed to beat any and all versions you have in your collection, or your money back
- "One of June Christy's two 1957 Capitol LPs, Gone for the Day boasts Pete Rugolo arrangements and a 12-piece group of mostly West Coast all-stars...includ[ing] trumpeter Don Fagerquist, trombonist Frank Rosolino, altoist Bud Shank, and Bob Cooper on tenor."
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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
Side two of this Hot Stamper June Christy record on the original Capitol Turquoise label is OUTSTANDING, both musically and sonically. It has boatloads of the TUBEY MAGIC we know these old records are famous for.
Musically this album is right up there with the best female vocal records we have ever played, the creme de la creme, albums on the level of Julie Is Her Name, Clap Hands and Something Cool. It really doesn’t get much better than this.
Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real June Christy singing live in your listening room. The best copies have an uncanny way of doing just that.
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 Gone For The Day 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 1957
- 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 Gone For The Day
- 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 note-like 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.
More Of What To Listen For
There is what sounds to us like a contrabassoon on the second track on side one, "When the Sun Comes Out." It’s so real sounding it might just give you chills.
From the liner notes:
This album illustrates the great and long-standing musical rapport between June and arranger-composer Pete Rugolo. Pete uses three distinctive instrumental groupings here -- a large string orchestra, a smaller string and woodwind group, and a third ensemble that features trombones, rhythm, vibes and xylophone. His backing complements to perfection these performances by Miss June Christy -- who, for an enchanting interlude, has locked the door and Gone For The Day.
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.
- It’s So Peaceful in the Country
- When the Sun Comes Out
- It’s a Most Unusual Day
- Love Turns Winter to Spring
- When You Awake
- Lazy Afternoon
- When the World Was Young
- Gone for the Day
- Lost in a Summer Night
- Give Me the Simple Life
- Lazy Mood
Though she was the epitome of the vocal cool movement of the 1950s, June Christy was a warm, chipper vocalist able to stretch out her impressive voice on bouncy swing tunes and set herself apart from other vocalists with her deceptively simple enunciation.
Christy’s debut LP for Capitol, 1954’s Something Cool, was recorded with Rugolo at the head of the orchestra. The album launched the vocal cool movement and hit the Top 20 album charts in America, as did a follow-up, The Misty Miss Christy. Her 1955 Duet LP paired her voice with Kenton’s piano, while most of her Capitol LPs featured her with various Kenton personnel and Rugolo (or Bob Cooper) at the head of the orchestra. She reprised her earlier big-band days with 1959’s June Christy Recalls Those Kenton Days, and recorded a raft of concept LPs before retiring in 1965. Christy returned to the studio only once, for 1977’s Impromptu on Musicraft.