The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus (barely)
Side Two: Mint Minus to Mint Minus Minus (barely)
- This pressing boasts very good Hot Stamper sound from the first note to last
- Forget whatever dead-as-a-doornail Heavy Vinyl record they're making these days - if you want to hear the size and energy of this classic from 1978, this is the only way to go
- 4 1/2 stars: "In a contemporary review for Rolling Stone, Dave Marsh viewed Darkness on the Edge of Town as a landmark record in rock and roll because of the clarity of its production, Springsteen's unique guitar playing, and the programming, which he said connected the characters and themes in a subtle yet cohesive manner. Marsh remarked that the subject matter of the songs fulfilled the hype that previously surrounded Springsteen..."
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Vintage covers for this album are hard to find in clean shape. Most of them 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, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
It's not easy to find good sound on this record -- or any Springsteen album, for that matter -- but good copies prove that this is a MUCH better recording than we ever gave it credit for. It's a rare pressing that can bring this passionate, emotionally charged music to life, the open, spacious soundstage and full-bodied tonality of the best sides are up to the challenge.
What the Best Sides of Darkness On The Edge of Town 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 1978
- 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 are sonic qualities by which a Pop or Rock record -- any Pop or Rock record -- should be judged?
Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.
When we hear a fair number of the qualities mentioned above on the side we're playing, we will provisionally award that side a Hot Stamper grade, which is often revised over the course of the shootout as we hear what the other copies are doing. Once we've been through all of our side ones, we then play the best of the best of them against each other to arrive at an official Shootout Winner.
Other copies have their grades raised or lowered depending on how they sound relative to the shootout winner, the record that was doing it all (or as much as possible - even some Triple Plus copies have been known to have a minor shortcoming or two). Repeat the process for the other side and the shootout is officially over. All that's left is to see how the sides of each copy match up.
That's why the most common grade for a White Hot stamper pressing is Triple Plus (A+++) on one side and Double Plus (A++) on the other. Finding the two best sounding sides on the same LP does happen, but it sure doesn't happen as often as we would like (!) -- there are just too many variables in the mastering and pressing processes to ensure consistent quality.
It may not be rocket science, but it's a science of a kind, one with strict protocols that we've developed over the course of many years to ensure that the results we arrive at are as accurate as we can make them.
The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on this Hot Stamper pressing -- or your money back.
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 later 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 that is a key part of the appeal 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.
- Adam Raised a Cain
- Something in the Night
- Candy's Room
- Racing in the Streets
- The Promised Land
- Streets of Fire
- Prove It All Night
- Darkness on the Edge of Town
In a contemporary review for Rolling Stone, Dave Marsh viewed Darkness on the Edge of Town as a landmark record in rock and roll because of the clarity of its production, Springsteen's unique guitar playing, and the programming, which he said connected the characters and themes in a subtle yet cohesive manner. Marsh remarked that the subject matter of the songs fulfilled the hype that previously surrounded Springsteen: "What they've always said was that someday Bruce Springsteen would make rock & roll that would shake men's souls and make them question the direction of their lives. That would do, in short, all the marvelous things rock had always promised to do."
In a retrospective review for AllMusic, William Ruhlmann said that Springsteen began to fully realize his characters as working class on Darkness on the Edge of Town, whose "hard truths in hard rock settings" made for a less accessible work than Born to Run.
Rolling Stone later wrote that the album was the E Street Band's best performance, "colored by the raw sound happening at the time".
In 2003, it was ranked at number 151 on Rolling Stone's list of the 500 greatest albums of all time.
According to Acclaimed Music, Darkness on the Edge of Town is the 103rd most frequently ranked record on critics' all-time lists.