The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- Incredible sound for this Warner Brothers stereo pressing with both sides earning Shootout Winning Triple Plus (A+++) grades - the first copy to hit the site in years!
- These sides are doing everything right -- clean, clear, dynamic and present with a lovely bottom end and lots of space around the instruments
- "The fifth album, A Song Will Rise, appeared in March 1965. It was, in a sense, the last of a quartet of albums that made up the early Peter, Paul and Mary sound. Again employing two-acoustic-guitars-and-acoustic-bass instrumentation, it featured a combination of recent cover tunes, songs associated with the groups' predecessors, such as the Weaver's 'Wasn't That A Time," and a collection of revised traditional songs."
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This vintage Warner Brothers stereo 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 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
What We're Listening For on A Song Will Rise
- 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.
When the Ship Comes In
Come and Go With Me
Ballad of Spring Hill
Wasn't That a Time
San Francisco Bay Blues
Talkin' Candy Bar Blues
For Lovin' Me
This had the usual assortment of traditional songs ("Motherless Child," "The Cuckoo"), songs that had first gained an audience during prior folk revivals ("Wasn't That a Time"), a bit of original material, mediocre blues ("San Francisco Bay Blues" and Paul Stookey's "Talkin' Candy Bar Blues"), and a Bob Dylan song ("When the Ship Comes In"). The biggest find, material-wise, was the Gordon Lightfoot composition "For Lovin' Me" (a #30 hit single), which gave the Canadian songwriter (who had yet to release his first United Artists LP) some of his first wide exposure in the United States... They were at their best on folk tunes with sad melodies and harmonies, as on "Jimmy Whalen" and "Ballad of Spring Hill."
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