The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- With two seriously good Double Plus (A++) sides, this was one of the better copies we played in our recent shootout
- As he did so brilliantly on Stardust, here Willie brings his inimitable singing style to classics of love and loss taken from The Great American Songbook
- Top quality arrangements - drop the needle on "Autumn Leaves" or "A Dreamer's Holiday" to hear Booker T and his bandmates at their best
- Top tracks include "Autumn Leaves," "As Time Goes By," "Harbor Lights" and, of course, "Without a Song"
- The critics may not have been impressed, but music lovers sure were - Amazon buyers award the album more than 4 1/2 stars
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Once again Willie is backed by a top-notch backing band fronted by the one and only Booker T. Jones. Drop the needle on "Once In A While" and dig the uncanny presence of the vocal and astonishing clarity of the ensemble.
Much like Stardust, a Hot Stamper pressing of this record is a real treat for we audiophiles. This is some amazingly soulful music with midrange magic to spare.
There's lots of air up top, giving the instruments plenty of room to breathe. The vocals are breathy and full-bodied; if Willie's voice doesn't sound a bit gravelly, you're probably playing an overly smooth or lo-rez copy, and we take away a lot of points for both.
This copy gives you everything you could ask for from this music -- tight bass, clearly audible guitar transients, generous amounts of warmth and sweetness, vocal immediacy and studio ambience like no other.
This vintage Columbia 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 Without A Song 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 even as late as 1983
- 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.
Some of the more common problems we ran into during our shootouts were slightly veiled, slightly smeary sound, with not all the top end extension that the best copies offer.
You can easily hear that smear on the guitar transients; usually, they're a tad blunted and the guitar harmonics don't ring the way they should.
What We're Listening For On Without A Song
- 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.
- Without A Song
- Once In A While
- Autumn Leaves
- I Can't Begin To Tell
- Harbor Lights
- Golden Earrings
- You'll Never Know
- To Each His Own
- As Time Goes By
- A Dreamer's Holiday