The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- An outstanding pressing of Summer Breeze with solid Double Plus (A++) sound from top to bottom, and vinyl that plays as quiet as we can find
- With tons of Tubey Magical richness in the midrange - the kind that was still abundant on analog tape in 1972 - this is a wonderful sounding album of folk pop
- It has taken us years to find the right stampers for this album, and now here they are on the Green Label original in all their glory
- 4 1/2 stars: "Summer Breeze offered an unusually ambitious array of music within a soft rock context -- most artists tried to avoid weighty subjects in such surroundings... the most highly regarded of all of Seals & Crofts' albums."
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In our recent shootout, all our best copies had the same numbers and letters in the dead wax, which doesn't happen all that often but does from time to time, contrary to popular opinion -- and even the informed opinion of the folks who work here, who listen to records and who look at stamper numbers all day.
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 Summer Breeze 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 1972
- 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're Listening For on Summer Breeze
Here are some of the things we specifically listen for in a vintage Folk Rock record.
Our hottest Hot Stamper copies are simply doing more of these things better than the other copies we played in our shootout.
The best copies have:
- Greater immediacy in the vocals (most copies are veiled and distant to some degree);
- Natural tonal balance (many copies are at least slightly brighter or darker than ideal; those with the right balance are the exception, not the rule);
- Good solid weight (so the bass sounds full and powerful);
- Spaciousness (the best copies have wonderful studio ambience and space);
- Tubey Magic, without which you might as well be playing a CD;
- And last but not least, transparency, the quality of being able to see into the studio, where there is plenty of musical information to be revealed in this sometimes simple, sometimes complex and sophisticated recording.
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.
- Funny Little Man
- Summer Breeze
- East Of Ginger Trees
- Fiddle In The Sky
- The Boy Down The Road
- The Euphrates
- Advance Guards
- Yellow Dirt
AMG 4 1/2 Star Review
Summer Breeze offered an unusually ambitious array of music within a soft rock context -- most artists tried to avoid weighty subjects in such surroundings (except, of course, CSN or Simon & Garfunkel, who could pretty much get away with anything).
The title track is one of those relentlessly appealing 1970s harmony-rock anthems, in the same mode as the Doobie Brothers' "Listen to the Music" and appropriately ubiquitous on the radio and in the memory; the guitar (electric and acoustic) and vocal hooks are all well-nigh irresistible. The rest varies in sound and focus.
"Hummingbird" quotes from the Baha'i scriptures and has a segmented structure with a chantlike opening and a sharp change in tempo, which didn't stop it from becoming a hit, and for all of its beauty, the soaring Marty Paich-arranged orchestral accompaniment, highlighted by lofty strings and a gorgeous horn part, never eclipses the core sound of the duo's singing and their acoustic guitar/mandolin combination. "Funny Little Man" mixes understated harmonies and acoustic instruments into an extended break that could almost pass for a classical piece. "Say" asks a lot of serious philosophical questions amid its rapid beat and playful tone. "East of Ginger Trees" is a hauntingly beautiful excursion into more Baha'i scripture, with delectable harmonies, a gorgeous mandolin part, and one of the most exquisitely restrained uses of orchestra of its era. "Fiddle in the Sky" shifts the album into purer country territory, while "The Boy Down the Road" moves listeners into a country-folk vein with a spookily melodramatic tale. "The Euphrates" picks up the tempo, providing an upbeat take on the meaning of life that loses none of its inherent sense of wonder. "Advance Guards" has that same sense of wonder, conveying it in a slower, more luxuriant setting, and the record ends on a rougher-hewn note with the more beat-driven, electric guitar-heavy "Yellow Dirt."
Summer Breeze was the most highly regarded of all of Seals & Crofts' albums...