The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- An original Elektra LP with excellent Double Plus (A++) sound from start to finish
- Can you believe that the producer and engineer of Carly's debut is none other than Eddie Kramer!?
- "That's The Way I've Always Heard It Should Be" is the killer track here and it sounds wonderful on this copy
- This pressing really brought this Big Production to life and allowed so many elements to work in harmony.
- It's a good example of what a truly Hot Stamper is supposed to do - let the music work as music
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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
The richness and the sweetness of the midrange on the best copies are exactly what you'd be looking for on this heavily-produced pop album, and this copy gives you that sound like no other copy you've ever heard.
Credit must go to Eddie Kramer, legendary producer and engineer for the likes of Hendrix and Zeppelin. He knows how to get good sound all right, although Female Singer Songwriter albums in his catalog are fairly light on the ground. (Richard Perry became the go-to guy for those productions as the '70s wore on.) This may, in fact, be the only one Eddie ever did. But he knows Big Production Rock, and that's what most of this album is about.
This vintage Elektra 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 Carly's Superb Debut 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 1971
- 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.
Keys to the Sound (and the Problems of Digital Music)
Too many copies we played erred on the hi-fi-ish side, with not enough of the vintage analog warmth that makes music like this so involving. The copies that sound especially clean and clear just didn't do much for us; they weren't able to convey the intimacy and emotion of the music. I'm sure you've had a similar experience playing CDs of some of your old favorites. You keep wondering why you liked the music in the first place. Don't blame the music. Blame those crappy CDs.
This is some of the best High-Production-Value rock music of the '70s. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.
The sides that had sound that jumped out of the speakers, with driving rhythmic energy, worked the best for us. They really brought this complex music to life and allowed us to make sense of it. This is yet another definition of a Hot Stamper -- it's the copy that lets the music work as music.
What We're Listening For On Carly Simon
- 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.
Shooting Out the Tough Ones
Big Rock and Pop Records always make for tough shootouts. Their everything-but-the-kitchen-sink approach to recording make it difficult to translate so much sound to disc. vinyl or otherwise. Everything has to be tuned up and on the money before we can even hope to get the record sounding right. (Careful VTA adjustment could not be more critical in this respect.)
If we're not hearing the sound we want, we keep messing with the adjustments until we do. There is no getting around sweating the details when sitting down to test a complex recording such as this. If you can't stand the tweaking tedium, get out of the kitchen (or listening room as the case may be). Obsessing over every aspect of a record's reproduction is what we do for a living. This kind of Big Rock and Pop Recording requires us to be at the top of our game, both in terms of reproducing the albums themselves as well as evaluating the merits of individual pressings.
When you love it, it's not work -- it's fun. Tedious, occasionally exasperating fun, but still fun. And the louder you play a record like this the better it sounds.
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.
- That's The Way I've Always Heard It Should Be
- One More Time
- The Best Thing
- Just A Sinner
- Dan, My Fling
- Another Door
- Rolling Down The Hills
- The Love's Still Growing
Carly Simon was mostly well received by critics when released. Timothy Crouse, writing in Rolling Stone, stated "Carly's voice perfectly matches her material" and her "...superbly controlled voice is complemented by deft arrangements."
Simon stated in the Ask Carly section on her website that "Reunions" was her mother's—Andrea Simon—favorite song of hers.