The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- Both sides of this vintage copy with the rare "flames" cover were giving us the big and bold sound we were looking for, earning superb Double Plus (A++) grades or BETTER
- Forget whatever dead-on-arrival Heavy Vinyl record they're making these days - if you want to hear the Tubey Magic, size and Southern Rock Energy of this surprisingly well recorded album from 1977, an early pressing such as this one is the only way to do it
- 4 1/2 stars: "... it's a hell of an album. The band springs back to life with the addition of guitarist Steve Gaines, and Van Zant used the time off the road to write a strong set of songs... If the original band was fated to leave after this record, at least they left with a record that serves as a testament to Skynyrd's unique greatness."
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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 vintage MCA 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 Street Survivors 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 1977
- 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.
Learning the Record
For our shootout for Street Survivors, we had at our disposal a variety of pressings that had the potential for Hot Stamper sound. We cleaned them carefully, then unplugged everything in the house we could, warmed up the system, Talisman'd it, found the right VTA for our Triplanar arm (by ear of course) and proceeded to spend the next hour or so playing copy after copy on side one, after which we repeated the process for side two.
If you have five or more copies of a record and play them over and over against each other, the process itself teaches you what's right and what's wrong with the sound of the album. Once your ears are completely tuned to what the best pressings do well that the other pressings do not do as well, using a few carefully chosen passages of music, it quickly becomes obvious how well a given copy can reproduce those passages. You'll hear what's better and worse -- right and wrong would be another way of putting it -- about the sound.
This approach is simplicity itself. First, you go deep into the sound. There you find a critically important passage in the music, one which most copies struggle -- or fail -- to reproduce as well as the best. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.
It may be a lot of work but it sure ain't rocket science, and we've never pretended otherwise. Just the opposite: from day one we've explained step by step precisely how to go about finding the Hot Stampers in your own collection. Not the good sounding pressings you happen to own -- those may or may not have Hot Stampers -- but the records you actually cleaned, shot out, and declared victorious.
What We're Listening For On Street Survivors
- 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 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.
- What's Your Name
- That Smell
- One More Time
- I Know A Little
- You Got That Right
- I Never Dreamed
- Honky Tonk Night Time Man
- Ain't No Good Life
AMG 4 1/2 Star Review
Street Survivors appeared in stores just days before Lynyrd Skynyrd's touring plane crashed, tragically killing many members of the band, including lead singer and songwriter Ronnie Van Zant. Consequently, it's hard to see Street Survivors outside of the tragedy, especially since the best-known song here, "That Smell," reeks of death and foreboding. If the band had lived, however, Street Survivors would have been seen as an unqualified triumph, a record that firmly re-established Skynyrd's status as the great Southern rock band.
As it stands, it's a triumph tinged with a hint of sadness, sadness that's projected onto it from listeners aware of what happened to the band after recording. Viewed as merely a record, it's a hell of an album. The band springs back to life with the addition of guitarist Steve Gaines, and Van Zant used the time off the road to write a strong set of songs, highlighted by "That Smell," "You Got That Right," and the relentless boogie "I Know a Little."
It's tighter than any record since Second Helping and as raw as Nuthin' Fancy. If the original band was fated to leave after this record, at least they left with a record that serves as a testament to Skynyrd's unique greatness.