The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- With a Triple Plus (A+++) Shootout Winning side two and a seriously good Double Plus (A++) side one, this copy had some of the best sound we have ever heard for the album
- Bruce Botnick's engineering ensures the sound is big and lively - this early pressing is full-bodied, with wonderfully present vocals, and plenty of punchy bottom end
- Forget whatever dead-as-a-doornail Heavy Vinyl record they're making these days - if you want to hear the Tubey Magic, size and energy of this wonderful album, a vintage pressing like this one is the way to go
- "With much of the same urgency Money stands as perhaps a lighter but still gutsy-voiced Bruce Springsteen. His performance exudes a certain authenticity of main line rock without seeming derivative or repetitious." - Billboard
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The average copy of this album is way too compressed, which kills the top end (by making the cymbals aggressive) and the vocals too midrangy. When you've got a copy of the album that's doing what it's supposed to do, you know pretty quickly. The highs are sweet and extended, the vocals are present, but without any spit or strain, and there is solid bass and low end propelling the music forward.
Eddie Money has only made one good record in our opinion -- this one. Fortunately, it's a GREAT one and we don't have to play any of his others. This guy had so much promise, based soley on his debut here. He lost his brilliant guitarist and arranger, Jimmy Lyon, soon after this first album was made, and that may account for his slide into mediocrity.
But this record is outstanding from first note to last. If at the end of the second track -- a cover of You Really Got A Hold On Me -- you are not rockin' out, then Eddie Money is just not for you. I love this album and I have played it more times than I could ever count.
What amazing 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 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
What We Listen For on Eddie Money
- 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 -- Bruce Botnick in this case -- would have 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 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.
Two Tickets to Paradise
You've Really Got a Hold on Me
Wanna Be a Rock & Roll Star
Save a Little Room in Your Heart for Me
So Good to Be in Love Again
Baby Hold On
Got to Get Another Girl
This strong debut benefits greatly from the expertise of veteran producer Bruce Botnick as well as the likes of former Steve Miller bassist Lonnie Turner and saxman Tom Scott. Guitarist Jimmy Lyon was to Money what Keith Scott was to Bryan Adams. Money, son of a New York City cop, had a rock & roll epiphany en route to following his dad's career path. The debut album, long on craft but not without inspiration, deservedly shot radio-ready tunes 'Two Tickets to Paradise' and 'Baby Hold On' up the charts, the latter helped by former Elvin Bishop songmate Jo Baker. The key tune is the spirited 'Wanna Be a Rock 'n' Roll Star,' which spells out the game plan.
With much of the same urgency Money stands as perhaps a lighter but still gutsy-voiced Bruce Springsteen. His performance exudes a certain authenticity of main line rock without seeming derivative or repetitious. Part of the credit goes to his backing, a tight and sizzling but not bombastic rock force of musicians that support Money's vocals, sax and keyboards.
Best cuts: "You've Really Got A Hold On Me," "Wanna Be A Rock 'N' Roll Star," "Got To Get Another Girl."
- Billboard, 1977.
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