Side One: Mint Minus Minus
Side Two: Mint Minus Minus (often quieter than this grade)
- These INCREDIBLE sides are guaranteed to make this by far the best sounding Thriller you have ever heard - Triple Plus (A+++) sound or close to it throughout - reasonably quiet vinyl too
- The sound is HUGE - wide, deep, and open, with a solid bottom end and relentless driving rhythmic energy to spare
- Billie Jean and Beat It sound out of this world, but that's not fair, since every track on this copy is good enough to blow your mind
- 5 stars: "This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul — expanding the approach to have something for every audience."
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The sound on this copy is huge, with the kind of three-dimensional soundstaging that lets the music unfold in front of you and around you as well. The bass is meaty and well-defined, showing you the rhythmic foundation that the music needs. The overall sound is transparent with amazing texture to practically every element.
Michael's voice is marvelous on this copy -- breathy, textured, and positively dripping with emotion (just listen to him break down on The Lady in My Life).
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 1982
- 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
This is some of the best High-Production-Value rock music of the '80s. The amount of effort that went into the recording of Thriller is comparable to that expended by the engineers and producers of bands like Supertramp, The Who, Jethro Tull, Ambrosia, Pink Floyd and far too many of our favorites to list. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.
Sound that came Jumping-out-of-the-speakers coupled with driving rhythmic energy were the hallmarks of the best copies. These qualities really brought this complex music to life, gave it room to breathe, and made it possible for us to enjoy the hell out of it. This is yet another definition of a Hot Stamper -- it's the copy that lets the music work as music.
What We Listen For on Thriller
- 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 -- Bruce Swedien in this case, among others -- 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 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.
Wanna Be Startin' Somethin'
Baby Be Mine
The Girl Is Mine
P.Y.T. (Pretty Young Thing)
The Lady in My Life