The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus*
Side Two: Mint Minus Minus*
- This outstanding early Charisma import pressing boasts Double Plus (A++) sound from start to finish
- The sound here is rich and Tubey Magical, two qualities the CD made from these tapes surely lacks and two qualities which are crucial if this music is to sound the way the band intended
- Forget the later reissues on the Blue Label, we have yet to hear one that can compete with these good originals
- Probably for the more serious fan, but Melody Maker found it "...tasteful, subtle and refined."
- 5 Stars: "The amazing work of Anthony Philips and John Mayhew mark an achievement which will be unparalleled in Genesis' output. No need here for heavy Vox or WahWah pedals; the acoustic wall was built thick to withstand the passage of time and critics looking for weak spots. This album is rock solid without the need to 'rock harder.'"
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*NOTE: On side 1, the first 1/2 of track 1 plays closer to Mint Minus Minus. On side 2, a mark at the start of track 3 plays 4 times lightly.
Take it from us, the guys who play every kind of pressing we can get our hands on, the UK pressings are the only way to go on Trespass.
This early British Charisma 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 Trespass 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 1970
- 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 Trespass
- 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 for the guitars and drums, 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 and maybe a bit worse 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 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.
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AMG 5 Star User Review
Every true work of art demands to be experienced in its context. 1969 was a seminal year for English progressive music. Led Zeppelin, King Crimson and Yes released their first albums. Out of left field, Genesis was brewing a sound which would outlive those earlier efforts. Although "Trespass" was released in October 1970, the content was created somewhat earlier.
Genesis was inventing a style unlike any other in the market; the closest resemblance would be an introspective Jethro Tull, yet the lyrical content points in opposite directions.
Listen to the album on vinyl with a good pair of headphones. This album is all about texture. Someone looking for shades of earlier or Phil Collins era Genesis will be completely lost here.
The amazing work of Anthony Philips and John Mayhew mark an achievement which will be unparalleled in Genesis' output. No need here for heavy Vox or WahWah pedals; the acoustic wall was built thick to withstand the passage of time and critics looking for weak spots. This album is rock solid without the need to "rock harder".
— Miguel Alvarado