30 Day Money Back Guarantee

White Hot Stamper - Little Milton - We're Gonna Make It

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

White Hot Stamper

Little Milton
We're Gonna Make It

Chess Records
Regular price
Regular price
Sale price
Unit price
Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus

Side Two: Mint Minus to Mint Minus Minus

  • Off the charts "Triple Triple" (A+++) sound for this classic Little Milton album - both sides earned our top grade of Triple Plus
  • This pressing showed us the sound we were looking for, in spades - it's clear, rich and natural, with not a trace of "modern mastering" (thank goodness) - fairly quiet vinyl too
  • The title track spent three weeks at Number One on the R&B Charts back in '65 - it's a classic
  • Allmusic raves: "Towering above it all, though, is Milton's powerful voice: a solid combination of gospel intensity and fluid phrasing that sprang from Roy Brown, moved through B.B. King, and found its way to both Bobby Bland and Milton, among others."
More Soul, R&B and Blues

100% Money Back Guarantee on all Hot Stampers

FREE Domestic Shipping on all LP orders over $75

This Chess 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 Shootout Winning sides such as these 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 1965
  • 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.

This reissue is yet another remarkable disc from the Golden Age of Vacuum Tube Recording Technology (1965 in this case), with the added benefit of mastering using the more modern cutting equipment of the mid-'80s. (We are of course here referring to the good modern mastering of 30+ years ago, not the much-too-common mediocre mastering being carried out these days.)

The combination of old and new works wonders on this title as you will surely hear for yourself on both of these White Hot sides.

We were impressed with the fact that it excelled in so many areas of reproduction. What was odd about it -- odd to most audiophiles but not necessarily to us -- was how rich and Tubey Magical the reissue can be.

This leads me to think that most of the natural, full-bodied, smooth, sweet sound of the album is on the tape, and that all one has to do to get that vintage sound on to a record is simply to thread up the tape on a good machine and hit play.

The fact that nobody seems to be able to make a good sounding record these days tells me that in fact I'm wrong to think that such an approach would work. It just seems to me that somebody should be able to figure out how to do it. In our experience that is rarely the case today, and has been that way for many years.

What do the best Hot Stamper pressings give you?

  • 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.

Size and Space

One of the qualities that we don't talk about on the site nearly enough is the SIZE of the record's presentation. Some copies of the album just sound small -- they don't extend all the way to the outside edges of the speakers, and they don't seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies -- my notes for these copies often read "BIG and BOLD" -- create a huge soundfield, with the music positively jumping out of the speakers. They're not brighter, they're not more aggressive, they're not hyped-up in any way, they're just bigger and clearer.

We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn't, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.

Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded that open and clear. And how many even dedicated audiophiles would have more than one of two clean British original copies with which to do a shootout? These records are expensive and hard to come by in good shape. Believe us, we know whereof we speak when it comes to getting hold of original British pressings of Classic Rock albums.

One further point needs to be made: most of the time these very special pressings just plain rock harder. When you hear a copy do what this copy can, it's an entirely different - and dare I say unforgettable -- listening experience.

Vinyl Condition

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 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 of these wonderful originals.

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

We're Gonna Make It
You're Welcome To The Club
I'm Gonna Move To The Outskirts Of Town
Blues In The Night
Country Style
Who's Cheating Who?

Side Two

Blind Man
Can't Hold Back The Tears
Believe In Me
Stand By Me
Life Is Like That
Ain't No Big Deal On You

AMG Review of the CD

This CD of two of Little Milton's classic, early-'60s titles for the Checker label, We're Gonna Make it and Sings Big Blues, features a nice variety of blues material and some stellar arrangements. Towering above it all, though, is Milton's powerful voice: a solid combination of gospel intensity and fluid phrasing that sprang from Roy Brown, moved through B.B. King, and found its way to both Bobby Bland and Milton, among others.

The program features one of Milton's biggest hits "Were Gonna Make It" and other uptempo, blues-soul hybrids, like "Who's Cheating Who?" and "Can't Hold Back the Tears" (all benefiting from Milton's fine, sinewy guitar lines). On more traditional, yet vibrant blues cuts, Milton shows off his tremendous vocal control, seamlessly alternating between soft, earnest tones and guttural shouts on "Blind Man" and expertly blending jazz and blues phrasing on "I'm Gonna Move to the Outskirts of Town."

Rounding out the set are some fine blues and soul covers, including B.B. King's "Sweet Sixteen," Lowell Fulson's "Reconsider Baby," James Brown's "Please, Please, Please," and Milton's reconfiguration of Guitar Slim's "Well I Done Got Over It" ("Ain't No Big Deal on You").

Everything is held together nicely by some of the most tasteful and tight arrangements you'll hear on a blues album, compliments of Phil Wright and tenor saxophonist James Carter.