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White Hot Stamper - R.E.M. - Green

White Hot Stamper

R.E.M.
Green

Regular price
$199.99
Regular price
$249.99
Sale price
$199.99
Unit price
per 
Availability
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Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus to Mint Minus Minus

Side Two: Mint Minus to Mint Minus Minus

  • A STUNNING copy with Shootout Winning Triple Plus (A+++) sound or close to it from start to finish
  • The overall sound here is Tubey Magical, lively and clear, with three-dimensionality that will fill your listening room from wall to wall
  • Exceptionally quiet vinyl throughout -- Mint Minus to Mint Minus Minus
  • "Musically, Green quotes a lot of sources. Listen closely and you can hear references to the Doors, Led Zeppelin, Sly Stone and others... R.E.M. may be dangerously close to becoming a conventional rock & roll band, but Green proves it’s a damn good one." - Rolling Stone
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This vintage Warner Brothers 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 Green 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 1988
  • 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.

Size

One of the qualities that we don't talk about on the site nearly enough is the SIZE of the record's presentation. Some copies of the album just sound small -- they don't extend all the way to the outside edges of the speakers, and they don't seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies -- my notes for these copies often read "BIG and BOLD" -- create a huge soundfield, with the music positively jumping out of the speakers. They're not brighter, they're not more aggressive, they're not hyped-up in any way, they're just bigger and clearer.

And most of the time those very special pressings just plain rock harder. When you hear a copy that does all that, it's an entirely different listening experience.

What We Listen For on Green

  • 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 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.


Side One

Pop Song 89
Get Up
You Are Everything
Stand
World Leader Pretend
The Wrong Child

Side Two

Orange Crush
Turn You Inside Out
Hairshirt
I Remember California
Untitled

Rolling Stone Review

Having made the leap from a small label, I.R.S., to a monolithic major one, Warner Bros., R.E.M. hasn’t sold out; rather, the band has taken the opportunity to crack open the shell it’s been pecking at since it recorded its first album. On Green, R.E.M. acknowledges the outside world with a slew of musical references and some relatively pointed lyrics.

Musically, Green quotes a lot of sources. Listen closely and you can hear references to the Doors, Led Zeppelin, Sly Stone and others. If R.E.M. were any more calculating, one might suspect this is the band’s sneaky way of squeezing into tightly formatted AOR radio, with its emphasis on classic rock bands.

Just as it’s fascinating to watch elder statesmen like Keith Richards reconcile rock & roll with middle age, it’s fascinating to see how R.E.M. handles fame and commercial success. On paper, this looks to be the band’s biggest album ever – strong singles material (“Get Up,” “Stand” and “Orange Crush”), a major label, a more accessible sound. So it’s not for nothing that the album is titled Green, although environmental concerns, naivete and the generally positive attitude of the record must also have something to do with it.

R.E.M. may be dangerously close to becoming a conventional rock & roll band, but Green proves it’s a damn good one.