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)
- A superb copy of One-Trick Pony with Nearly Triple Plus (A++ to A+++) sound throughout - just shy of our Shootout Winner
- Notably richer and livelier than almost every other pressing we played, with plenty of Tubey Magic and good weight down low
- We guarantee there is dramatically more richness, presence and energy on this copy than anything else you've heard, and that's especially true for whatever godawful Heavy Vinyl pressing is currently being foisted on an unsuspecting record buying public
- "Tasty licks abound from the fretwork of Eric Gale, Hiram Bullock, and Hugh McCracken, and the rhythm section of Steve Gadd, Tony Levin, and Richard Tee is equally in the groove. This is the closest thing to a band album Simon ever made, and it contains some of his most rhythmic and energetic singing. . ."
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These Nearly White Hot Stamper pressings have top-quality sound that's often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers ("relative" meaning relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don't agree, please feel free to return the record for a full refund, no questions asked.
This original white label 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 One-Trick Pony 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 1980
- 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 One-Trick Pony
- 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.
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.
- Late In The Evening
- That's Why God Made The Movies
- One-Trick Pony
- How The Heart Approaches What It Yearns
- Oh, Marion
- Ace In The Hole
- God Bless The Absentee
- Long, Long Day
Though it was released to coincide with the opening of the film One-Trick Pony, which Paul Simon wrote and starred in, the One-Trick Pony album is not a soundtrack, as it is sometimes categorized, at least, not exactly. If it were, it might contain the Paul Simon song "Soft Parachutes" and other non-Simon music featured in the movie. Instead, this is a studio album containing many of the movie songs, some of them in the same performances (two were cut live at the Agora Club in Cleveland).
. . . Tasty licks abound from the fretwork of Eric Gale, Hiram Bullock, and Hugh McCracken, and the rhythm section of Steve Gadd, Tony Levin, and Richard Tee is equally in the groove. This is the closest thing to a band album Simon ever made, and it contains some of his most rhythmic and energetic singing. . .