The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- With two nearly Triple Plus (A++ to A+++) sides, this copy is close to the BEST we have ever heard, right up there with our Shootout Winner
- Forget the dubby domestic pressings and whatever crappy Heavy Vinyl record they're making these days - the UK LPs are the only way to fly on Mott
- Bill Price engineered in 1973 - he's the man behind The Clash's Best Sounding Album, London Calling
- AMG raves "This sounds better, looser, than All the Young Dudes, as the band jives through "All the Way From Memphis" and "Honaloochie Boogie," beats the living hell outta "Violence," swaggers on "Whizz Kid," and simply drives it home on "Drivin' Sister."
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This CBS Orange Label early British LP has the big British Rock Sound we love here at Better Records. Phenomenally rich and sweet, with meaty bass and a smooth top, it's the kind of sound you find on the best Ken Scott recordings from the early '70s.
Bill Price engineered this one as he did for many of Mott's albums. His claim to fame in these parts is London Calling, but his credits run into the hundreds for classic rock records starting in the '60s right through to the '80s.
We were surprised (although we shouldn't be by now) that so many copies were slightly thin and dry. The first track on side one, the big hit All the Way From Memphis, tends to have a problem in that area more than the tracks that follow.
What superb 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 1973
- 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 Mott
- 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 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.
All the Way From Memphis
Hymn for the Dudes
Ballad of Mott the Hoople
I'm a Cadillac/El Camino Dolo Roso
I Wish I Was Your Mother
This sounds better, looser, than All the Young Dudes, as the band jives through "All the Way From Memphis" and "Honaloochie Boogie," beats the living hell outta "Violence," swaggers on "Whizz Kid," and simply drives it home on "Drivin' Sister." Apart from the New York Dolls (who, after all, were in a league of their own), glam never sounds as rock as it does here. To top it all off, Hunter writes the best lament for rock ever with "Ballad of Mott the Hoople," a song that conveys just how heartbreaking rock & roll is for the average band. If that wasn't enough, he trumps that song with the closer "I Wish I Was Your Mother," a peerless breakup song that still surprises, even after it's familiar. It's a graceful, unexpected way to close a record.
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