The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus (barely)
Side Two: Mint Minus Minus (barely)
- This early Capitol stereo pressing boasts outstanding Double Plus (A++) sound from start to finish
- Tubey Magical with breathy vocals, this is one of the albums that made us big fans of Miss Lee
- I thought the S&P pressing of Latin a la Lee was killer when it came out in 2003 - little did I know how much I was missing, a situation the average buyer of Heavy Vinyl is in without ever knowing it
- A ridiculously tough record to find in stereo, in audiophile playing condition, with sound as good as this
- "Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era..." - All Music Biography
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Vintage covers for this album are hard to find in clean shape. Most of them will have at least some ringwear, seam wear and edge wear. Some will have cut corners. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice enough cover for you.
Check out the energy and presence on the second track of side two, Sweet Happy Life, which I understand was used in a Target commercial a few years back. This is the way it's supposed to sound, with the instruments jumping out of your speakers.
For those of you collecting along at home, the mono pressings of Guitars Ala Lee we played were just awful sounding. You would simply never know how well recorded this album is by playing one of the mono pressings.
For albums that were recorded in stereo we have yet to hear one of Miss Peggy Lee's in mono that wasn't mediocre at best, and most are just ridiculously bad.
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 Guitars A la Lee 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 1966
- 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.
Clean and clear, yet rich and sweet, this copy managed to find something very close to the perfect balance of these attributes. You want that rare copy that keeps what is good about a Tubey Magical analog recording from The Golden Age of Pop Vocals but manages to avoid the pitfalls so common to them: smear, lack of top end extension, opacity and blubber.
To be sure, the fault is not with the recording (I guess; again, not having heard the master tape) but with the typical pressing. Bad vinyl, bad mastering, who knows why so many copies sound so veiled or gritty?
Full-bodied sound, open and spacious, bursting with life and energy -- these are the hallmarks of our Truly Hot Stampers. If your stereo is cookin' these days this copy of Guitars Ala Lee will be an unparalleled Sonic Treat.
We guarantee that no heavy vinyl pressing, of this or any other album, has the kind of analog magic found here.
What We're Listening For on Guitars A la Lee
- 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.
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.
- Nice 'N' Easy
- Strangers In The Night
- Mohair Sam
- Goodbye, My Love
- Think Beautiful
- An Empty Glass
- Good Times
- Sweet Happy Life
- Touch The Earth
- Beautiful, Beautiful World
- My Guitar
- Call Me
Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship.