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
- This outstanding pressing boasts solid Double Plus (A++) sound or BETTER from start to finish - exceptionally quiet vinyl too
- Big and lively, with rich, breathy vocals, this pressing will show you just how good No Fun Aloud can sound
- Frey's phenomenal talent as an artist is matched only by his songwriting genius on this album, which includes hits "The One You Love," "I Found Somebody" and more
- "... it's Frey's perfectly guided vocals and impeccable talent for crafting laid-back love songs that make the album noteworthy."
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The best copies of No Fun Aloud are both rich and open, with the kind of sound we associate with good '70s recordings and rarely hear on records from the '80s. But here's a record from 1982 that sounds the way we like our records to sound - ANALOG.
We don't really know if it is or not, or mostly is or mostly isn't, but we've never really cared about those sorts of things as long as the record sounds good.
It's our one and only criterion. Using any other is a sign that you're not really listening, you're reading.
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 the Best Sides of No Fun Aloud 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 even as late as 1982
- 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 No Fun Aloud
- 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.
- I Found Somebody
- The One You Love
- I Volunteer
- I've Been Born Again
- Sea Cruise
- That Girl
- All Those Lies
- She Can't Let Go
- Don't Give Up
Glenn Frey's first solo album plotted two Top 40 singles, with "I Found Somebody" going to number 31 in the summer of 1982 and the destitute-sounding "The One You Love" hitting number 15 two months later.
With help from Jack Tempchin, who co-wrote the Eagles' "Peaceful Easy Feeling," the album reached number 32 on the U.S. charts, but it's Frey's perfectly guided vocals and impeccable talent for crafting laid-back love songs that make the album noteworthy.
The saxophone from "The One You Love," which tags alongside the soothing chorus, makes the song even better, and "I Found Somebody" hints at the Eagles' warm, harmonic style.