The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- A superb copy of Jerry's sophomore solo effort with outstanding Double Plus (A++) sound from first note to last
- Forget whatever dead-as-a-doornail Heavy Vinyl record they're making these days - if you want to hear the Tubey Magic, size and energy of this wonderful album from 1974, a vintage pressing like this one is the way to go
- "This was an opportunity for Garcia to do something different — to sing, to perform, and to arrange a variety of songs however he wanted. As a result, he surely sounded like he was having the time of his life..." - John Metzger, The Music Box
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This vintage Round Records 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 Garcia 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
What We Listen For on Garcia (Compliments)
- 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 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.
Let It Rock
When The Hunter Gets Captured By The Game
That's What Love Will Make You Do
Turn On The Bright Lights
He Ain't Give You None
What Goes Around
Let's Spend The Night Together
Over the years, Compliments has gotten a bad rap due to both the brevity of its tunes and the polish of the performances, but those looking for extended jams are simply missing the point. This was an opportunity for Garcia to do something different — to sing, to perform, and to arrange a variety of songs however he wanted. As a result, he surely sounded like he was having the time of his life, whether delivering an airy version of Smokey Robinson’s The Hunter Gets Captured by the Game, delving into the blues-based funk of Little Milton’s That’s What Love Will Make You Do, or bouncing through the New Orleans-baked groove of Dr. John’s What Goes Around. Elsewhere, he puts an aching, mournful spin on Peter Rowan’s Mississippi Moon and offers a Django Reinhardt-inspired reading of Irving Berlin’s Russian Lullaby that positively swings.
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