The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- A superb sounding copy with Nearly Triple Plus (A++ to A+++) sound from start to finish - exceptionally quiet vinyl too
- You have to work very hard to find a copy of this famously troubled album that sounds as good as this one does,
- Produced by John Lennon, Nilsson's partner in crime, it's a really fun album, with an appealingly ragged and spontaneous vibe
- "It may not be as wild as the lost weekend itself, but it couldn't have been recorded at any other time and remains a fascinating aural snapshot of the early days of 1974."
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These Nearly White Hot Stamper pressings have top quality sound that's often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers ("relative" being relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don't agree, please feel free to return the record for a full refund, no questions asked.
The soundstage is huge and open, there's some real richness and body to the vocals and, perhaps most importantly, you get all the energy and presence required to bring this wild album to life.
John Lennon and Harry Nilsson were notorious partiers during Lennon's "lost weekend" away from Yoko, and the album basically plays like all that excess playing out in the studio. The vibe is loose and spontaneous, and Nilsson's voice is at its most ragged. That looseness and raggedness results in some startlingly emotional peaks -- Many Rivers To Cross and Don't Forget Me are positively spine-tingling -- and some good-natured romps through classic covers like Subterranean Homesick Blues and Rock Around The Clock. It's a whole lot of fun -- especially when you have a copy that sounds like this!
This album may not be a demo disc like A Little Touch of Schmilsson In The Night, but that's really not the point here. This record is about the atmosphere, and this copy has the kind of big, open soundstage and smooth, musical tonality that really make the music work! It's actually one of the best-sounding Nilsson albums, and the sound is perfectly matched to the material.
This vintage RCA 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 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 1974
- 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 Pussy Cats
- 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.
Many Rivers to Cross
Subterranean Homesick Blues
Don't Forget Me
All My Life
Old Forgotten Soldier
Save the Last Dance for Me
Loop De Loop
Rock Around the Clock
The relationship between Harry Nilsson and John Lennon is legendary. They were notorious booze hounds and carousers, getting kicked out of clubs for misbehavior and generally terrorizing L.A. during Lennon's "lost weekend" of 1974. They wanted to make an album together -- hell, anyone working at such a peak would -- and the result was Pussy Cats, a Nilsson album produced by Lennon.
Through its messiness, Pussy Cats winds up showing how he and Lennon violently careened between hedonism and self-loathing. Of the new songs, the inadvertently revealing "All My Life" is the strongest, followed by the sweet "Don't Forget Me," yet this is more about tone than substance. It's about hearing Nilsson's voice getting progressively harsher, as the backing remains appealingly professional and slick. It doesn't quite jibe, and it's certainly incoherent, but that's its charm. It may not be as wild as the lost weekend itself, but it couldn't have been recorded at any other time and remains a fascinating aural snapshot of the early days of 1974.
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