The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus (often quieter than this grade)
Side Two: Mint Minus Minus (often quieter than this grade)
- An impressive copy of this 1981 release, with KILLER Shootout Winning Triple Plus (A+++) sound on side two - fairly quiet vinyl too
- Recorded at Sound City, home to some of the greatest analog sound ever recorded, this 1981 pressing still has plenty of ANALOG magic in its grooves
- 4 1/2 stars: "...filled with great songwriting, something that's as difficult to achieve as a distinctive sound... The Waiting became the best-known song on the record, but there's no discounting A Woman in Love, Nightwatchman, Kings Road, and The Criminal Kind, album tracks that would become fan favorites... it has a tremendous set of songs and a unified sound that makes it one of Petty's finest records."
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This one is a huge step up from most of what we played. The album tends to be bright, thin, edgy, pinched and gritty -- radio friendly, maybe, but not especially audiophile friendly.
We hate that sound but we are happy to report that some copies manage to avoid it, and this is one of them. Is that richer, fuller sound the sound of what's on the master tape or did the mastering engineer "fix" it? We'll never know, now will we? What we can know is the sound of the pressings we actually have to play, and this one is killer.
Recorded by Shelly Yakus at Sound City, Van Nuys and at Cherokee Studios, Hollywood, CA. This vintage MCA 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 outstanding 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 1981
- 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 Hard Promises
- 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.
The First Two Albums
His first two albums are also classics, IMHO, and we've done Hot Stamper shootouts for both. You're Gonna Get It, his second release, is my personal favorite. After Hard Promises I kind of gave up on him as an album artist: a few tracks here and there sparkle but mostly what I hear is variations of his earlier and better material, with brighter and brighter, thinner and thinner sound.
Full Moon Fever seems to be the exception to that rule. We found some imports that sound surprisingly good and they should be coming to the site any day now.
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 later 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 that is a key part of the appeal 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.
A Woman in Love (It's Not Me)
Letting You Go
A Thing About You
The Criminal Kind
You Can Still Change Your Mind
... a reaffirmation that Damn the Torpedoes wasn't a fluke... filled with great songwriting, something that's as difficult to achieve as a distinctive sound... The opener, "The Waiting," became the best-known song on the record, but there's no discounting "A Woman in Love (It's Not Me)," "Nightwatchman," "Kings Road," "Insider," and "The Criminal Kind," album tracks that would become fan favorites... it has a tremendous set of songs and a unified sound that makes it one of Petty's finest records.
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