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Nearly White Hot Stamper - Jimi Hendrix - Electric Ladyland

The copy we are selling is similar to the one pictured above.

Nearly White Hot Stamper (With Issues)

Jimi Hendrix
Electric Ladyland

Regular price
$399.99
Regular price
Sale price
$399.99
Unit price
per 
Availability
Sold out

Sonic Grade

Side One:

Side Two:

Side Three:

Side Four:

Vinyl Grade

Side One: Mint Minus to Mint Minus Minus

Side Two: Mint Minus to Mint Minus Minus

Side Three: Mint Minus to Mint Minus Minus*

Side Four: Mint Minus to Mint Minus Minus*

  • A superb copy of Electric Ladyland with nearly Triple Plus (A++ to A+++) sound or BETTER on all FOUR sides - just shy of our Shootout Winner
  • Big, clear, tubey, sweet ANALOG sound - we played it good and loud and it was ROCKIN'!
  • Probably the best-recorded of Hendrix's studio albums - huge studio space and Tubey Magical richness are key to the best sound
  • 5 stars: "...not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex."
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*NOTE: On side three, a mark makes 20 very light ticks in the soft passage about one and a half inches from the end of the last track, Moon, Turn the Tides...Gently Gently Away. On side four, Track 1, Still Raining, Still Dreaming, plays Mint Minus Minus.

These Nearly White Hot Stamper pressings have top quality sound that's often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers ("relative" being relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don't agree, please feel free to return the record for a full refund, no questions asked.

Some of Jimi's best songs can be found here, including Crosstown Traffic, Voodoo Child (Slight Return) and his incendiary cover of Dylan's All Along The Watchtower. All four sides have truly killer sound, big and full-bodied with a MUCH better low end than you'll find on most. You get enough energy and weight to make the rock songs really ROCK, and enough clarity and transparency to bring out the more spacey, psychedelic elements that Jimi and Eddie Kramer worked so hard on.

Ready to go on a trip? You've come to the right place. While the sound is not Demo Quality on every track, the acid-drenched soundscapes created by Jimi and producer Eddie Kramer are certainly going to be exciting to the kind of audiophile who still digs Classic Rock. Unfortunately, most copies are missing a lot of the magic -- the space, the tubes, the ambience, the size, the weight.

What amazing 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 1968
  • 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
No doubt there's more -- there always is -- 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 Electric Ladyland

  • 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 -- engineering legend Eddie Kramer 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.

Vinyl Condition

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 imports 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 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.


Side One

And the Gods Made Love
Have You Ever Been (To Electric Ladyland)
Crosstown Traffic
Voodoo Chile

Side Two

Little Miss Strange
Long Hot Summer Night
Come On, Pt. 1
Gypsy Eyes
Burning of the Midnight Lamp

Side Three

Rainy Day, Dream Away
1983... (A Merman I Should Turn to Be)
Moon, Turn the Tides...Gently Gently Away

Side Four

Still Raining, Still Dreaming
House Burning Down
All Along the Watchtower
Voodoo Child (Slight Return)

AMG 5 Star Rave Review

Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to.

But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer for taking Hendrix's visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here.

What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound.

As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: "Crosstown Traffic," his reinterpretation of Bob Dylan's "All Along the Watchtower," "Burning of the Midnight Lamp," the spacy "1983...(A Merman I Should Turn to Be)," and "Voodoo Chile (Slight Return)," a landmark in Hendrix's playing. With this double set Hendrix once again pushed the concept album to new horizons.