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*
- With seriously good Double Plus (A++) grades or close to them from top to bottom, this Sheffield direct-to-disc pressing is doing just about everything right - exceptionally quiet vinyl too
- Loads of presence, with richness and fullness that showed us just how good the Direct to Disc medium can be at its best (particularly on side two)
- Make no mistake, this here is a real Demo Disc - the sound on side two is Wall to Wall with big bass, dynamics, clarity, top end extension (so silky up there!) and energy, and side one is not far behind in all those areas
- Unlike most Direct-to-Disc recordings, this album actually contains (mostly) real music worth sitting down and listening to
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*NOTE: Track 1 in side 2, "Don't Misunderstand," plays a little noisier than Mint Minus Minus.
Vintage covers for this album are hard to find in exceptionally clean shape. Most of the will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG
This wonderful pressing fulfills the promise of the direct-to-disc recording approach in a way that few direct-to-disc pressings actually do.
To be honest, most copies of this title were quite good; only a few didn't do most things at least well enough to earn a good grade. This has not been the case with many of the Sheffield pressings we've done shootouts for in the past. Often the weaker copies have little going for them. They don't even sound like Direct Discs!
Some copies lack energy, some lack presence, and most suffer from some amount of smear on the transients. But wait a minute. This is a direct disc. How can it be compressed, or lack transients? Aren’t those tape recorder problems that are supposed to be eliminated by the direct-to-disc process?
"Supposed to be eliminated" is a long way from "were eliminated." Even though the mastering is fixed at the live event, there are many other variables which affect the sound. The album is pressed in three different countries: the United States, Japan, and Germany. Many mothers were pulled from the plated acetates (the "fathers") and many, many stampers made from those mothers.
Bottom line? You got to play 'em, just like any other record. If no two records sound the same, it follows that no two audiophile records sound the same, a fact that became abundantly clear very early on in the listening. Of course, not many audiophiles are in a position to shootout eight or ten copies of I’ve Got The Music In Me, and I'm not sure most audiophiles would even want to. Here at Better Records we have a whole system set up to do exactly that, so we waited until we had a pile of them gathered together, cleaned them all up, and off to the races we went.
What The Best Sides Of I've Got The Music In Me 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 1975
- 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.
Unlike most Direct to Disc recordings, this album actually contains real music worth listening to -- but only when the pressing lets the energy of the musicians through, with some sort of fidelity to the sounds of their instruments. Brass without bite is boring. Drummers who drum too delicately will bore you to tears.
Talk about dynamic vocals. "To Know You Is to Love You" has the potential to come right at you in a powerfully shocking way. Thelma can get LOUD. It sounds like there is virtually no compression on her vocals at all. There has to be a limiter of some kind, but when she starts really belting it out you will not believe how loud she can sing. Might just give you goosebumps.
This could easily be the most dynamic vocal recording you have ever heard. It's right up there at the top for us too.
What We're Listening For On I've Got The Music In Me
- 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.
One thing Sheffield got right is tonally-correct, realistic, believable brass in a natural acoustic space. This is precisely where For Duke fails so miserably, although no one ever seems to notice or bothers to write about it. To me that dead acoustic is like fingernails on a blackboard, completely inappropriate to the sound. In real life you would never hear a jazz band like that play in a dead room like that, so why on earth would you want to record one that way? It's just plain dumb, no matter how good your mics are or how clean your signal path might be.
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.
- I've Got the Music in Me
- Reggae Tune
- To Know You Is to Love You
- Pressure Cooker
- Don't Misunderstand
- Step in Time
- Dish Rag
- Got to Get You into My Life / I've Got the Music in Me
Thelma Houston teamed with the band Pressure Cooker in the early '80s, doing a fusion/instrumental pop/R&B/soul work for Sheffield Labs. That affiliation ensured that it would be brilliantly engineered, and it sounded spectacular, especially for mid-'70s release.