The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus (the first track is Mint Minus Minus)
Side Two: Mint Minus to Mint Minus Minus
- This KILLER pressing boasts Shootout Winning Triple Plus (A+++) sound or close to it from first note to last
- Three distinctive qualities of vintage analog recordings - richness, sweetness and freedom from artificiality - are most clearly heard on a Big Production Rock Record like Evolution in the loudest, densest, most climactic choruses of the songs, and this side one delivers that size and power like no copy you've ever heard
- Forget whatever dead-as-a-doornail Heavy Vinyl record they're making these days - if you want to hear the Tubey Magic, size and energy of this hit-filled Journey album, a vintage pressing like this one is the only way to go
- 4 1/2 stars: "Journey could seemingly do no wrong. Evolution quickly became the band's biggest-selling album, and Perry and co. soon embarked on yet another mammoth tour, which set many an attendance record, and set the stage for even greater triumph with 1980's Departure."
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This vintage Columbia pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides of Evolution 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 1979
- 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.
What We're Listening For on Evolution
- 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.
Choruses Are Key
Three distinctive qualities of vintage analog recordings -- richness, sweetness and freedom from artificiality -- are most clearly heard on a Big Production Rock Record like Evolution in the loudest, densest, most climactic choruses of the songs.
We set the playback volume so that the loudest parts of the record are as huge and powerful as they can possibly become without crossing the line into distortion or congestion. On some records, Dark Side of the Moon comes instantly to mind, the guitar solos on Money are the loudest thing on the record.
On Breakfast in America the sax toward the end of The Logical Song is bigger and louder than anything on the record, louder even than Roger Hodgson's near-hysterical multi-tracked screaming "Who I am" about three-quarters of the way through the track. Those, however, are clearly exceptions to the rule. Most of the time it's the final chorus of a pop song that gets bigger and louder than what has come before.
A pop song is usually designed to build momentum as it works its way through the verses and choruses, past the bridge, coming back around to make one final push, releasing all its energy in the final chorus, the climax of the song. On a good recording -- one with real dynamics -- that part of the song should be very loud and very powerful.
The climax of the biggest, most dynamic songs are almost always the toughest tests for a pop record, and it's the main reason we play our records loud. The copies that hold up through the final choruses of their album's largest scaled productions are the ones that provide the biggest thrills and the most emotionally powerful musical experiences one can have sitting in front of two speakers. Our Top 100 is full of records that reward that kind of intense listening at loud levels.
We live for that sound here at Better Records. It's precisely what the best vintage analog pressings do brilliantly. In fact they do it so much better than any other medium that there is really no comparison, and certainly no substitute. If you're on this site you probably already know that.
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.
- Too Late
- Lovin', Touchin', Squeezin'
- City Of The Angels
- When You're Alone (It Ain't Easy)
- Sweet And Simple
- Lovin' You Is Easy
- Just The Same Way
- Do You Recall?
- Lady Luck
AMG 4 1/2 Star Review
With the platinum triumph of Infinity still ringing in their ears like coins in a slot machine, Journey was now committed to completing their transformation from jazz fusion/prog rock mavens into arena rock superstars with their fifth album, 1979's Evolution.
... with Steve Perry's tenor pipes now clearly driving the band's engine, and guitarist Neal Schon beginning to relish in his guitar-hero persona, Journey could seemingly do no wrong. Evolution quickly became the band's biggest-selling album (moving over 800,000 units in less than three months), and Perry and co. soon embarked on yet another mammoth tour, which set many an attendance record, and set the stage for even greater triumph with 1980's Departure.