The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- You'll find a Shootout Winning Triple Plus (A+++) side two mated with an outstanding Double Plus (A++) side one of this KILLER pressing of Dylan's 1974 release - exceptionally quiet vinyl too
- With wonderfully rich, natural tonality, these early pressings are by far the best way to hear the album sound the way it should
- Lots of great material on this one, not sure why it doesn't get more respect: On A Night Like This, Going Going Gone, Forever Young, You Angel You... these are seriously good, very well-recorded songs
- "Reteaming with the Band, Bob Dylan winds up with an album that recalls New Morning more than The Basement Tapes, since Planet Waves is given to a relaxed intimate tone..."
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This is an excellent recording, boasting not only great Bob Dylan sound, but some of the best sound for The Band that you'll ever hear. That's right, Dylan is backed by Messrs. Robertson, Danko, Helm, Manuel and Hudson on this album, and I don't know when we've ever heard such audiophile quality sound from that crew. It's a real treat to hear their signature styles without the cardboard-y, compressed quality we usually find on their albums.
Lots of great material on this album -- we're not sure why it doesn't get more respect. On A Night Like This, Going Going Gone, Forever Young, You Angel You... these are wonderful, well-recorded songs! This is not one of Dylan's best-known or most-loved albums, but it's definitely a good one. You can certainly tell that these are very emotional songs for him, and it really shows in the performances.
This vintage Asylum 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 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 1974
- 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 Planet Waves
- 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.
- On a Night Like This
- Going, Going, Gone
- Tough Mama
- Something There Is About You
- Forever Young
- Forever Young (Continued)
- You Angel You
- Never Say Goodbye
- Wedding Song
Reteaming with the Band, Bob Dylan winds up with an album that recalls New Morning more than The Basement Tapes, since Planet Waves is given to a relaxed intimate tone — all the more appropriate for a collection of modest songs about domestic life... There are moments — "On a Night Like This," "Something There Is About You," the lovely "Forever Young" — where it just gels.
The critical reception was generally positive, if a bit muted. The consensus was ultimately strong enough to secure Planet Waves at #18 on The Village Voice's Pazz & Jop Critics Poll for 1974.
"In a time when all the most prestigious music, even what passes for funk, is coated with silicone grease, Dylan is telling us to take that grease and jam it," wrote critic Robert Christgau. "Sure he's domestic, but his version of conjugal love is anything but smug, and this comes through in both the lyrics and the sound of the record itself. Blissful, sometimes, but sometimes it sounds like stray cat music—scrawny, cocky, and yowling up the stairs."
Ellen Willis of The New Yorker wrote, "Planet Waves is unlike all other Dylan albums: it is openly personal...I think the subject of Planet Waves is what it appears to be—Dylan's aesthetic and practical dilemma, and his immense emotional debt to Sara."