The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus (often quieter than this grade)
Side Two: Mint Minus Minus
- The Fabulous Thuderbird's superb debut finally arrives on the site with outstanding Double Plus (A++) sound or BETTER throughout
- This vintage pressing is well balanced, yet big and lively, with excellent clarity in the mids and highs as well as plenty of bass and a big open soundfield
- "... this record was a shining beacon, showing us that rhythm and blues music could honour its roots while still looking forward, and that there was a (cool) alternative to the blues-rock smugness of all those guitar 'heroes'."
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This vintage Takoma pressing has the kind of Tubey Magical Midrange that modern records rarely even 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 Girls Go Wild 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 1979
- 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 space of the studio
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 Girls Go Wild
- Energy for starters. What could be more important than the life of the music?
- 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 common to most LPs.
- Tight, note-like bass with clear fingering -- which ties in with good transient information, as well as 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 players.
- Then: presence and immediacy. The vocals aren't "back there" somewhere, way behind the speakers. They're front and center where any recording engineer worth his salt would have put them.
- 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 later 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 that is a key part of the appeal 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.
Wait On Time
Scratch My Back
Walkin' To My Baby
Rock With Me
Let Me In
Back before the current 'Blues Boom' (everyone going all 'rootsy'), or even the previous one (SRV inspired Strat-and-hat 'searing' guitar types), this record was a shining beacon, showing us that rhythm and blues music could honour its roots while still looking forward, and that there was a (cool) alternative to the blues-rock smugness of all those guitar 'heroes'.
Kim Wilson's New Orlean's R&B came together with Jimmy Vaughan's crisp, lyrical guitar to give us a record that was punchy, hip, and tight, with an attitude that managed to sit well with a post punk British sensibility (one that was DEFINITELY having nothing to do with Clappers and that crowd). Whilst some of the later Thunderbirds albums are best left alone, this and the follow-up 'What's The Word' remain the high water mark for R&B combo's. At least round my house.
Richard J. Webb, Amazon Reviewer
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