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 to Mint Minus Minus
- A superb copy of this Hall and Oates classic from 1982 with solid Double Plus (A++) sound from start to finish - remarkably quiet vinyl too
- It's lively, open, present and natural - the soundfield is big and spacious and the bottom end is killer
- Much more consistent than most of their releases, this one boasts three killer hits including "Maneater," "Family Man" and my all time favorite by the band, "One on One."
- 4 stars: "Private Eyes solidified Hall & Oates’ status as one of the most popular acts in America in the early ’80s, and...... with 1982's H2O, they capitalized on its success, delivering an album that turned out to bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles..."
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $150
*NOTE: There is a mark that plays at a light to moderate level 7 times at the end of track 2 on side 1.
This vintage RCA 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 H2O 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.
Recently we did one of our regular shootouts for H20, using pressings we know from experience to have the potential for Hot Stamper sound. We cleaned them as carefully as we always do. Then we unplugged everything in the house we could get away with, carefully warmed up the system, Talisman'd it, found the right VTA for our Triplanar arm (by ear of course) and proceeded to spend the next couple of hours playing copy after copy on side one, after which we repeated the process for side two.
If you have five or ten copies of a record and play them over and over against each other, the process itself teaches you what's right and what's wrong with the sound of the album. Once your ears are completely tuned to what the best pressings do well that the others do not do as well, using a few specific passages of music, it will quickly become obvious how well any given pressing reproduces those passages.
The process could not be more simple. The first step is to go deep into the sound. There you find something special, something you can't find on most copies. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.
What We're Listening For on H2O
- 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.
Pop and Rock Shootouts
What are the sonic qualities by which a Pop or Rock record -- any Pop or Rock record -- should be judged?
Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.
When we can hear a good many of the qualities mentioned above on the side we're playing, we provisionally award it a Hot Stamper grade. This grade is often revised over the course of the shootout, as we come to more fully appreciate just how good some of the other copies are.
Once we've been through all our side ones, we then play the best of the best against each other and arrive at a winner. Other copies have their grades raised or lowered depending on how they sounded relative to the shootout winner.
Repeat the process for the other side and the shootout is officially over. All that's left is to see how the sides of each pressing match up.
Record shootouts may not be rocket science, but they're a science of a kind, one with strict protocols developed over the course of many years to ensure that the sonic grades we assign to our Hot Stampers are as accurate as we can make them.
The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing -- or your money back.
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.
- Crime Pays
- One on One
- Art of Heartbreak
- Open All Night
- Family Man
- Italian Girls
- Guessing Games
- Delayed Reaction
- At Tension
- Go Solo
AMG 4 Star Review
Private Eyes solidified Hall & Oates’ status as one of the most popular acts in America in the early ’80s, and...... with 1982's H2O, they capitalized on its success, delivering an album that turned out to bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles with "Maneater," "One on One," and "Family Man."