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Nearly White Hot Stamper - Crosby / Nash - Graham Nash / David Crosby

The copy we are selling is similar to the one pictured above.

Nearly White Hot Stamper

Crosby / Nash
Graham Nash / David Crosby

Regular price
$169.99
Regular price
Sale price
$169.99
Unit price
per 
Availability
Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus (often quieter than this grade)

Side Two: Mint Minus Minus

  • Close to Shootout Winning sound on both sides - Nearly Triple Plus (A++ to A+++) - one of the best copies of this shockingly well recorded album to hit the site in years
  • The vocals are exceptionally breathy, smooth and sweet here - this recording is the very definition of Midrange Magic, thanks to the engineering of Bill Halverson
  • 4 stars: "This self-titled release is one of most impressive side project to arise from CSN. The best elements of each are readily available here, punctuated at every turn by their complicated vocal arrangements and air-lock harmonies."
More David Crosby / More Graham Nash

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Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. Many if not most will have a cutout notch. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.

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" being 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.

Where in the world did all the Midrange Magic that we were hearing on this copy of the album come from?

On a song like Where Will I Be the sound is so unbelievably transparent, open and intimate it sounds like an outtake from David Crosby's first album, one of the ten best sounding rock records ever made. How did Bill Halverson learn how to record as well as Stephen Barncard all of a sudden?

I was in high school when I first played this album and I remember being disappointed with it, mostly because I was expecting another Deja Vu. As I grow older I appreciate other qualities in a recording; I've come to appreciate this album for what it is: not the Grand Musical Statement that Deja Vu is, but a simpler, more intimate portrait of two artists at the start of a lifelong harmonious collaboration. With a damn fine batch of songs to sing.

Top Quality Sound

The Midrange Magic on some of these tracks is off the scale. The transparency is also remarkable, with richness and sweetness matched by few copies in our huge shootout.

Listen to the three-dimensional quality of the piano on the first track of side two. Skip to the second track and you will hear some of the best bass to be found on the side. The song is not about the bass, obviously, so we hasten to point out the vocals and harmonies -- the sine qua non of any CSN or Y record -- are Truly Right On The Money as well.

What amazing sides such as these 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 1972
  • 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 Listen For on Graham Nash/David Crosby

  • 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.

You Know All These Guys

Danny Kortchmar — electric guitar Jerry Garcia — pedal steel guitar; electric guitar Dave Mason — electric guitar Craig Doerge — electric piano; piano; organ Leland Sklar — bass Phil Lesh — bass Greg Reeves — bass Russ Kunkel — drums Johnny Barbata — drums Bill Kreutzmann — drums

Vinyl Condition

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 originals.

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.


Side One

Southbound Train

This song would be right at home on Graham Nash's first album, a desert island disc for me. This gets side one off to a great start.

Whole Cloth
Blacknotes
Strangers Room
Where Will I Be?

The best sound on side one, and a great test track. When the chorus of voices really starts pushing the meter, most copies will run into harmonic distortion trouble. Only the truly Hot Stampers manage to keep the loudest parts of the song clean and clear.

Page 43

Listen for the attack of the snare; so many copies have that cardboardy drum sound we have to put up with on albums from this era, but the best ones get a nice crisp attack to the snare that really sells it.

Side Two

Frozen Smiles
Games
Girl to Be on My Mind
The Wall Song
Immigration Man

Love the music. The sound... uh, not so much. Still, the best copies tend to minimize the distortion and maximize the sweetness and richness.

AMG Review

This self-titled release is one of — if not arguably the — most impressive side project to arise from CSN. Taken beyond face value, Graham Nash/David Crosby is a direct reflection, if not an extension, of the musical and personal relationship between its co-creators. Likewise, the results remain true, enhancing rather than detracting from the very individualistic styles of Crosby and Nash. The best elements of each are readily available here, punctuated at every turn by their complicated vocal arrangements and air-lock harmonies.