Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
Side Three: Mint Minus Minus
Side Four: Mint Minus to Mint Minus Minus
Side Five: Mint Minus to Mint Minus Minus
Side Six: Mint Minus to Mint Minus Minus
- With stunning Triple Plus (A+++) grades or very close to them on four of the six sides, this early British box set of All Things Must Pass has sound that will be very hard to beat
- This may be the last quiet, unscratched copy to hit the site for quite a while
- If you've struggled with domestic pressings and later imports or Heavy Vinyl reissues, your troubles are over - here is the sound you were looking for
- "Without a doubt, Harrison's first solo recording is his best. Drawing on his backlog of unused compositions from the late Beatles era, Harrison crafted material that managed the rare feat of conveying spiritual mysticism without sacrificing his gifts for melody and grand, sweeping arrangements."
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $75
NOTE: The boxes on these import titles usually show at least some wear but we will make every effort to provide you with the best box we have at the time. This one comes with a solid VG+ box.
Tubey Magic Is Key
This original British pressing has the kind of Tubey Magical Midrange that modern records cannot 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 outstanding sides such as these 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 (and effects!) having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
What to Listen For (WTLF)
What are the criteria by which a record like this 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, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, and on and on down through the list.
When we can get all, or most all, of the qualities above to come together on any given side we provisionally award it a grade of "contender." Once we've been through all our copies on one side we then play the best of the best against each other and arrive at a winner for that side. Repeat the process for the other side and the shootout is officially over. All that's left is to see how the sides matched up.
It may not be rocket science, but it is a science of a kind, one with strict protocols that we've developed over the course of many years to insure that the results we arrive at 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.
What We Listen For on All Things Must Pass
- 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 -- Ken Scott in this case -- would have 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 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.
I'd Have You Anytime
My Sweet Lord
Isn't It a Pity (Version 1)
What Is Life
If Not for You
Behind That Locked Door
Let It Down
Run of the Mill
Beware of Darkness
Ballad of Sir Frankie Crisp (Let It Roll)
Awaiting On You All
All Things Must Pass
I Dig Love
Art of Dying
Isn't It a Pity (Version 2)
Hear Me Lord
Out of the Blue
It's Johnny's Birthday
Plug Me In
I Remember Jeep
Thanks for the Pepperoni
Without a doubt, Harrison's first solo recording, originally issued as a triple album, is his best. Drawing on his backlog of unused compositions from the late Beatles era, Harrison crafted material that managed the rare feat of conveying spiritual mysticism without sacrificing his gifts for melody and grand, sweeping arrangements.
Enhanced by Phil Spector's lush orchestral production, and Harrison's own superb slide guitar, nearly every song is excellent: "Awaiting on You All," "Beware of Darkness," the Dylan collaboration "I'd Have You Anytime," "Isn't It a Pity," and the hit singles "My Sweet Lord" and "What Is Life" are just a few of the highlights.
- Choosing a selection results in a full page refresh.
- Press the space key then arrow keys to make a selection.