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White Hot Stamper - The Ramsey Lewis Trio - Down To Earth

The copy we are selling is similar to the one pictured above.

White Hot Stamper

The Ramsey Lewis Trio
Down To Earth

Mercury LP
Regular price
$249.99
Regular price
Sale price
$249.99
Unit price
per 
Availability
Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus (often quieter than this grade)

Side Two: Mint Minus Minus (often quieter than this grade)

  • Down To Earth finally makes it to the site with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish
  • A truly superb recording with huge, spacious, dynamic, lively sound - Tubey Magical richness is a big plus too
  • As soon as the needle hit the groove on a copy we had picked up a year to two ago, we knew the sound had the potential to be top notch, and this copy proves it - the excellent music was, as you can imagine, a big plus too
  • 4 stars: "Their concise interpretations (only two songs are longer than 3:15) feature swinging solos by Lewis and respect for the melodies. The music is quite accessible while still being jazz oriented. Worth picking up."
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This vintage Mercury 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 Down To Earth 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 1959
  • 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 space of the studio

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.

Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren't veiled or smeary of course. So many things can go wrong on a record! We know, we've heard them all.

Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.

Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.

What We're Listening For on Down To Earth

  • Energy for starters. What could be more important than the life of the music?
  • 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 common to most LPs.
  • Tight, note-like bass with clear fingering -- which ties in with good transient information, as well as 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 players.
  • Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

The Players

Ramsey Lewis - piano El Dee Young - bass Issac "Red" Holt - drums

Vinyl Condition

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 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 that is a key part of the appeal 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.


Side One

Dark Eyes
Come Back To Sorrento
Soul Mist
John Henry
Greensleeves

Side Two

We Blue It
Sometimes I Feel Like A Motherless Child
Suzanne
Billy Boy
Decisions

AMG 4 Star Review

The Ramsey Lewis Trio were popular from the start, cutting four albums of material during 1958, only two years after Lewis began teaming up with bassist Eldee Young and drummer Red Holt. This recording (one of very few by the group in its early days that were not made for Argo or Cadet) has the trio emphasizing folk songs and traditional melodies...

Their concise interpretations (only two songs are longer than 3:15) feature swinging solos by Lewis and respect for the melodies. The music (if not essential) is quite accessible while still being jazz oriented. Worth picking up.