The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- You'll find solid Double Plus (A++) sound on both sides of this vintage Warner Brothers pressing
- This stereo pressing is Tubey Magical and full-bodied, not to mention uncannily present - an outstanding pressing of a superb recording
- 4 1/2 stars: "Garcia is nothing short of a full-bodied artistic expression from one of rock & roll's most multi-faceted musicians. Both initiated Deadheads as well as enthusiasts of the burgeoning early-'70s singer/songwriter movement will find much to cherish on this recording as Garcia redefines his immense talents and seemingly undiluted musical potential."
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This vintage Warner Brothers 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 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
What We Listen For on Garcia
- 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 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.
Late For Supper
To Lay Me Down
An Odd Little Place
This disc was a happy byproduct of the Grateful Dead re-signing with Warner Bros. It was mutually beneficial for Bob Weir (guitar/vocals) as well as Mickey Hart (percussion) and his criminally overlooked debut long-player, Rolling Thunder (1972). Jerry Garcia's (acoustic guitar, electric guitar, pedal steel guitar, bass, piano, organ, samples, vocals) simply titled Garcia (1972) is arguably the most solo of all these projects, as only he and the Grateful Dead's Billy Kreutzmann (percussion) contribute instrumentally. That said, Robert Hunter's lyrics should not be underestimated as all six of his co-compositions became staples in the Dead's live songbook for the remainder of their concert career.
The infusion of new material can be attributed to the lack of any Dead-related releases since Workingman's Dead (1970) over 14 months earlier. Although Garcia is the primary musician on the ten tracks, he has given each arrangement a wholly unique persona. These range from straight-ahead blues-based rock & roll ("Sugaree") to the avant-garde ("Late for Supper"). Within those extremes are discerning renditions and solid performances of stone gems such as the noir folkie "Loser" as well as the lilting balladry of "Bird Song" and the cyclical psychedelia of "The Wheel," the latter of which features some of the finest pedal steel guitar work to have come from Garcia's brief infatuation with the twangy instrument. He brings an intimacy to the affective love song "To Lay Me Down" that was rarely equalled by the Grateful Dead. His prowess as an emotive pianist can be heard throughout not only that cut, but also on the trippy medley consisting of the previously mentioned "Late for Supper," "Spidergawd," and "Eep Hour."
Ever the self-effacing artist, at the time of release the guitarist overtly downplayed the album as "overindulgent." Time has rendered that assessment utterly false, as Garcia is nothing short of a full-bodied artistic expression from one of rock & roll's most multi-faceted musicians. Both initiated Deadheads as well as enthusiasts of the burgeoning early-'70s singer/songwriter movement will find much to cherish on this recording as Garcia redefines his immense talents and seemingly undiluted musical potential.
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