The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- You'll find insanely good Triple Plus (A+++) sound on the first side of this Heart rocker and superb Double Plus (A++) sound on the second - quiet vinyl too
- Straight On is the killer track on this 1978 release, and with Triple Plus (A+++) sound you can be sure it will rock your world on this pressing
- The sound is RICH and WARM without sacrificing clarity and punch, this is classic '70s ANALOG at its best
- Turn it up and hear the wonderful, grungy texture to the guitars and a big fat snare keeping the beat
- "...the more resounding punch of Straight On went all the way to number 15 as the album’s first single. With the vocals and guitar work sounding fuller and more focused, the band seems to be rather comfortable once again."
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $75
Like the best copies of Dreamboat Annie and Little Queen, this is classic '70s ANALOG at its best. The sound is RICH and WARM without sacrificing clarity and punch.
The best copies make the case for just how good the album can sound, with wonderful grungy texture to the guitars and a big fat snare keeping the beat. (Heart in the old days had a great band behind them. When they left so did much of the reason to play Heart's records.)
These Girls Just Wanna Rock
What the best sides of Heart's 1978 followup to Little Queen 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 1978
- 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 Dog and Butterfly
- 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 and maybe a bit better is about as quiet as any vintage British 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.
Cook With Fire
Dog & Butterfly
Like their Magazine album, Dog & Butterfly peaked at number 17 on the charts, but the material from it is much stronger from every standpoint, with Anne and Nancy Wilson involving themselves to a greater extent. The light, afternoon feel of the title track peaked at number 34, while the more resounding punch of Straight On went all the way to number 15 as the album’s first single. With keyboard player Howard Leese making his presence felt, and the vocals and guitar work sounding fuller and more focused, the band seems to be rather comfortable once again.
- Choosing a selection results in a full page refresh.
- Press the space key then arrow keys to make a selection.