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
- An original copy of this Grammy-winning record from 1987 with solid Double Plus (A++) sound or close to it on both sides
- On these wonderful a cappella vocal performances, we were specifically listening for richness, sweetness, warmth and intimacy, and the better sides were the ones that gave us all those qualities in the most abundance (particularly this side one)
- Roy Halee engineered, and based on the sound of this copy, he was still capable of making a much more natural sounding record than his work on Graceland would leave you to believe
- 4 1/2 stars: "In the wake of their participation on his Graceland album, Paul Simon produced this Ladysmith album, their most accessible work for Western ears, which is pristinely recorded and sung partially in English."
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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 outstanding pressing will show you just how good this Grammy-winning record was supposed to sound, but for some reason (or reasons) never did, a story that anyone on this site is all too familiar with. The better sides show you what Roy Halee was hearing on the tape when he was mixing the album.
It may not be perfect, but it's a whole lot better than the vast majority of records made in 1987; that I can tell you with no shortage of confidence.
This vintage Warner Brothers pressing has the kind of Tubey Magical Midrange that modern records rarely even 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 Shaka Zulu 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 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.
Standard Operating Procedures
What are sonic qualities by which a record -- any record -- should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.
When we can get a number of these qualities to come together on the side we’re playing, we provisionally give it a ballpark Hot Stamper grade, a grade that is often revised during the shootout as we hear what the other copies are doing, both good and bad.
Once we’ve been through all the side ones, we play the best of the best against each other and arrive at a winner for that side. Other copies from earlier in the shootout will frequently have their grades raised or lowered based on how they sounded compared to the eventual shootout winner. If we’re not sure about any pressing, perhaps because we played it early on in the shootout before we had learned what to listen for, we take the time to play it again.
Repeat the process for side two and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.
It may not be rocket science, but it’s a science of a kind, one with strict protocols that we’ve developed over the course of many years to insure that the results we arrive at are as accurate as we can make them.
The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing -- or your money back.
What We're Listening For On Shaka Zulu
- 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.
- 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 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.
- Hello My Baby
- At Golgotha
- King of Kings
- The Earth Never Gets Satisfied
- How Long?
- Home of the Heroes
- These Are the Guys
- Rain, Rain, Beautiful Rain
- Who Were You Talking To?
AMG 4 1/2 Star Review
In the wake of their participation on his Graceland album, Paul Simon produced this Ladysmith album, their most accessible work for Western ears, which is pristinely recorded and sung partially in English.
About the Album
Shaka Zulu is a 1987 album by South African a cappella group Ladysmith Black Mambazo.
Following the collaboration on Paul Simon's 1986 album Graceland which brought the group to international prominence, Shaka Zulu (produced by Simon) marked the band's first genuine international hit, securing them an American audience which would be built upon by the successes of Journey of Dreams (1988) and Two Worlds, One Heart (1990). Shaka Zulu was a collection of newly recorded versions of older Mambazo hits, such as "Unomathemba", "Hello My Baby" and "Lomhlaba Kawunoni."
Shaka Zulu won a Grammy in 1988 for Best Traditional Folk Recording.
The album was also featured in Robert Dimery's 2006 musical reference book 1001 Albums You Must Hear Before You Die.
In his consumer guide for The Village Voice, Robert Christgau felt the album had a "generalized gospel yearning," and a lyric sheet and songs in English that would appeal to Americans.