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White Hot Stamper - Elvis Presley - On Stage February 1970

The copy we are selling is similar to the one pictured above.

Hot Stamper

Elvis Presley
On Stage February 1970

Regular price
$149.99
Regular price
Sale price
$149.99
Unit price
per 
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Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus (often quieter than this grade)

Side Two: Mint Minus Minus (often quieter than this grade)

  • The King's live performance from the International Hotel in Las Vegas, here with solid Double Plus (A++) grades or close to them throughout this original RCA pressing - fairly quiet vinyl too
  • The sound is big, full, lively and spacious with Presley's remarkably present and breathy vocals front and center where they belong (particularly on side two)
  • Here's Elvis doing songs made famous by others, proving that he can still out-rock and out-soul practically anybody alive
  • With ten million copies sold to date, this album's appeal has transcended its time and must be considered a true Elvis classic
  • 4 stars: "'The Wonder of You' might not have been 'That's All Right' or even 'Heartbreak Hotel,' but it was a towering performance by a singer who could, even then, run circles around virtually anyone in the business this side of Roy Orbison."

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Vintage covers for this album are hard to find in exceptionally clean shape. Most of the will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG


Of the handful of Elvis albums to ever make it to the site in Hot Stamper form, this one may just be one of the most fun.

This original RCA pressing has the kind of Tubey Magical Midrange that modern pressings rarely begin to reproduce. Folks, that sound is pretty much gone and it sure isn't showing any sign of coming back.

Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much in the details in the recording, but rather in trying to recreate a solid, palpable Elvis singing live in your listening room. The better copies have an uncanny way of doing just that.

If you exclusively play modern repressings of older recordings (this one is now 54 years old), 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 less than one out of 100 new records do, if our experience with the hundreds we've played can serve as a guide.

What The Best Sides Of On Stage February 1970 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 1970
  • 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.

Copies with rich lower mids did the best in our shootout, assuming they weren't veiled or smeary of course. So many things can go wrong on a record! We know, we've heard them all.

Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural ambience and space, and instruments will lack their full complement of harmonic information.

Learning the Record

For our shootout for this album, we had at our disposal a variety of pressings that had the potential for Hot Stamper sound. We cleaned them carefully, then unplugged everything in the house we could, warmed up the system, Talisman'd it, found the right VTA for our Triplanar arm (by ear of course) and proceeded to spend the next hour or so playing copy after copy on side one, after which we repeated the process for side two.

If you have five or more copies of a record and play them over and over against each other, the process itself teaches you what's right and what's wrong with the sound of the album. Once your ears are completely tuned to what the best pressings do well that the other pressings do not do as well, using a few carefully chosen passages of music, it quickly becomes obvious how well a given copy can reproduce those passages. You'll hear what's better and worse -- right and wrong would be another way of putting it -- about the sound.

This approach is simplicity itself. First, you go deep into the sound. There you find a critically important passage in the music, one which most copies struggle -- or fail -- to reproduce as well as the best. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.

It may be a lot of work but it sure ain't rocket science, and we've never pretended otherwise. Just the opposite: from day one we've explained step by step precisely how to go about finding the Hot Stampers in your own collection. Not the good sounding pressings you happen to own -- those may or may not have Hot Stampers -- but the records you actually cleaned, shot out, and declared victorious.

What We're Listening For on On Stage February 1970

  • 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.

Vinyl Condition

Mint Minus Minus 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.

Side One

  • See See Rider
  • Release Me (And Let Me Love Again)
  • Sweet Caroline
  • Runaway
  • The Wonder Of You

Side Two

  • Polk Salad Annie
  • Yesterday
  • Proud Mary
  • Walk A Mile In My Shoes
  • Let It Be Me (Je T'Appartiens)

AMG 4 Star Review

Elvis's second live album, partly cut at the International Hotel in Las Vegas in early 1970, is one of his most unfairly underrated releases. At the time, it did seem a bit cheap, offering ten songs that weren't necessarily associated with Presley.

By this time, he was adding covers of other artists' contemporary hits to his set, not to capitalize on their success but to keep his hand in contemporary music and show audiences of the era that he was capable of doing more than reprising his own 50s and early-60s songs.

The critics failed to notice two things, however: Presley had the same first-rate band who had graced the previous tour, led by James Burton on guitar; when he performed Neil Diamond's "Sweet Caroline," Tony Joe White's "Polk Salad Annie," and (most especially) Del Shannon's "Runaway," he did them extremely well.

"The Wonder of You" might not have been "That's All Right" or even "Heartbreak Hotel," but it was a towering performance by a singer who could, even then, run circles around virtually anyone in the business this side of Roy Orbison.