The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- With Shootout Winning Triple Plus (A+++) sound or very close to it on both sides, this copy handily won our shootout
- The best sides have the kind of analog richness, warmth and smoothness that we make listening to records so involving
- Some pop tunes, some Ellington and more, all of which has a real funky feel to it, with Jimmy really getting into it and grunting along with the music
- "This 1965 Verve release finds the B-3 innovator mixing it up with organ and guitar combo swingers and big band charts compliments of arranger Oliver Nelson."
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This copy was just plain bigger and richer and tubier, as well as more dynamic than the others we played!
This vintage Verve 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 amazing sides such as these 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 1966
- 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
What We're Listening For on Got My Mojo Workin'
- Energy for starters. What could be more important than the life of the music?
- 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.
The Players and Personnel
Alto Saxophone – Phil Woods Baritone Saxophone – Jerome Richardson Bass – Ron Carter Drums – Grady Tate Guitar – Kenny Burrell Tenor Saxophone, Flute – Romeo Penque Trumpet – Ernie Royal Producer – Creed Taylor Engineer - Rudy Van Gelder Director Of Engineering– Val Valentin
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.
High Heel Sneakers
I Can't Get No Satisfaction
Got My Mojo Working
Johnny Come Lately
C Jam Blues
After seven high-quality years with Blue Note, organist Jimmy Smith switched over to the Verve label for a lengthy and fruitful run lasting from 1963 until the early '70s (Smith would eventually return to the company for two fine albums in the mid-'90s).
This 1965 Verve release, Got My Mojo Workin', finds the B-3 innovator mixing it up with organ and guitar combo swingers and big band charts compliments of arranger Oliver Nelson.
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