The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus Minus (often quieter than this grade)
- A KILLER copy with Shootout Winning Triple Plus (A+++) sound or close to it on both sides - this is some of the best sound we have ever heard on Bad - exceptionally QUIET vinyl too
- This one beat every other copy we played against it - the sound is huge, full-bodied, punchy and relatively smooth throughout, with real space and ambience around the vocals and instruments
- Includes some of Jackson's biggest 80's hits, "Man in the Mirror," "Dirty Diana," Smooth Criminal," and of course, the title track
- 4 1/2 stars: "... essentially taking each portion of Thriller to an extreme, while increasing the quotient of immaculate studiocraft. He wound up with a sleeker, slicker Thriller, which isn't a bad thing..."
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Michael Jackson's records always make for tough shootouts. His everything-but-the-kitchen-sink approach to recording make it difficult to translate so much sound to disc. vinyl or otherwise. Everything has to be tuned up and on the money before we can even hope to get the record sounding right. (Careful VTA adjustment could not be more critical in this respect.)
If we're not hearing the sound we want, we keep messing with the adjustments until we do. There is no getting around sweating the details when sitting down to test a complex recording such as this. If you can't stand the tweaking tedium, get out of the kitchen (or listening room as the case may be). Obsessing over every aspect of a record's reproduction is what we do for a living. This kind of Big Rock Recording requires us to be at the top of our game, both in terms of reproducing the albums themselves as well as evaluating the merits of individual pressings.
When you love it, it's not work, it's fun. Tedious, occasionally exasperating fun, but still fun. And the louder you play a record like this the better it sounds.
What Shootout Winning 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 even as late as 1987
- 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)
Less grit - smoother and sweeter sound, something that is not easy to come by on Bad
A bigger presentation - more size, more space, more room for all the instruments and voices to occupy. The bigger the speakers you have to play this record the better.
More bass and tighter bass. This is a recording that relies on its powerful rhythmic elements. It needs weight down low to move you the way MJ's go-to engineer (Bruce Swedien), MJ's go-to producer (Quincy Jones) and The King of Pop himself (Michael Jackson) wanted it to.
Present, breathy vocals. A veiled midrange is the rule, not the exception.
Good top end extension to reproduce the harmonics of the instruments and details of the recording including the studio ambience.
Last but not least, balance. All the elements from top to bottom should be heard in harmony with each other. Take our word for it, assuming you haven't played a pile of these yourself, balance is not that easy to find.
Our best copies will have it though, of that there is no doubt.
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 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.
The Way You Make Me Feel
Just Good Friends
Another Part of Me
Man in the Mirror
I Just Can't Stop Loving You
The downside to a success like Thriller is that it's nearly impossible to follow, but Michael Jackson approached Bad much the same way he approached Thriller — take the basic formula of the predecessor, expand it slightly, and move it outward. This meant that he moved deeper into hard rock, deeper into schmaltzy adult contemporary, deeper into hard dance — essentially taking each portion of Thriller to an extreme, while increasing the quotient of immaculate studiocraft. He wound up with a sleeker, slicker Thriller, which isn't a bad thing..."
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