The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus*
Side Two: Mint Minus Minus
- With STUNNING Shootout Winning Triple Plus (A+++) sound or close to it on both sides, this is without a doubt some of the best sound we have ever heard for What's New
- So hugely spacious and three-dimensional, yet with a tonally correct and fairly natural sounding Linda, this is the way to hear it
- What engineer George Massenburg gets right is the sound of an orchestra, augmented with jazz musicians (Ray Brown, Tommy Tedesco, Plas Johnson, Bob Cooper), all performing live in a huge studio
- "...the best and most serious attempt to rehabilitate an idea of pop that Beatlemania... undid in the mid-60's."
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $75
- On side one, two marks make 5 moderate pops at the beginning, followed by 1 loud and 1 moderate pop at the end of track 3, Guess I'll Hang My Tears Out to Dry. Another mark makes 20 very light ticks at the beginning of track 4, Crazy He Calls Me.
Oftentimes the copy with the best sound is not the copy with the quietest vinyl. The best sounding copy is always going to win the shootout, the condition of its vinyl not withstanding. If you can tolerate the few marks on this pressing you are in for some amazing music and sound. If for any reason you are not happy with the sound or condition of the album we are of course happy to take it back for a full refund, including the domestic return postage.
With two outstanding sides, this pressing gets two critically important elements of the recording right: the strings in the orchestra, and, for obvious reasons even more importantly, Linda's voice. We guarantee that these sides give you a more natural sounding Linda than you've ever heard, or your money back.
What the Best Sides of For Sentimental Reasons 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 1983
- 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.
What We Listen For on What's New
That's easy on this album: the strings. When the strings are big and rich, not shrill and thin, that's a good thing. Rosiny texture means you have a copy with less smear and higher resolution. Harmonics up top means that the top end of your copy is extending properly.
Bottom line: If the strings are bad on this album probably everything else is too.
Having said that, this is an album of standards sung by a woman with a very recognizable voice. If Linda doesn't sound right, what's the point of the record? To hear Nelson Riddle's well-recorded strings?
The best copies have Linda sounding rich and breathy. Few managed to pull off that particular trick as well as we would have liked. We took major points off for those copies that had her sounding too thin or forced in her upper range.
George Massenburg Gets It Right
We've criticized engineer George Massenburg in the past, but with this copy we almost want to take it all back.
What he gets right on this recording is the sound of an orchestra, augmented with various jazz musicians (Ray Brown, Tommy Tedesco, Plas Johnson, Bob Cooper), all performing live in a huge studio. The sound stretches far to Linda's left, far to her right, as well as back far behind her in a huge semi-circle. She is of course singing in a vocal booth, with her vocal placed front and center in the soundstage.
As an aside, George Massenburg went on to record the Trio album with Dolly Parton, Linda Ronstadt and Emmylou Harris. The analog sound he produced was shockingly rich, smooth and sweet -- and this in 1987 no less!
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.
I've Got a Crush on You
Guess I'll Hang My Tears Out to Dry
Crazy He Calls Me
Someone to Watch over Me
I Don't Stand a Ghost of a Chance With You
What'll I Do?