The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- You'll find insanely good Shootout Winning Triple Plus (A+++) sound or close to it from first note to last on this vastly underrated Rod Stewart classic
- One of the few to hit our site over the years, and for that we apologize - Atlantic Crossing should be enjoyed by everyone in Hot Stamper form
- This is some of the best Muscle Shoals rock- and soul-inflected pop from producer Tom Dowd we know of
- AMG raves that "Three Time Loser and Stone Cold Sober catch fire," and on this copy we guarantee they do
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The last consistently good Rod Stewart album? Atlantic Crossing definitely gets my vote.
The copies we liked best were the biggest and richest, the least thin and dry. Many of the brighter copies also had sibilance problems which the richer and tubier ones did not.
What do the best pressings give you?
- Energy for starters. What could be more important than the life of the music? The best copies rock like only "The Memphis Horns and three-quarters of Booker T. and the MG's" can. We've been playing this record (at least I have) since it came out in 1975 and love the way it can sound on the better pressings.
- 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 for the guitar notes, not the smear and thickness so common to most 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.
Domestic Vs. British Vinyl
On some of the Rod Stewart albums that we happen to know well, the British pressings are clearly superior; the first two Rod Stewart albums come immediately to mind. After that, strange as it may seem, all the best pressings are domestic. This album is certainly no exception.
I remember bringing back a few Brit copies from England many years ago and being surprised that they were so thick, dull and dubby sounding. Of course, they were; the album was recorded right here in the good old US of A. The master tapes are here. The Brit pressings sound dubby because they are made from copy tapes.
If there is any doubt, the following is a list of the studios in which Atlantic Crossing was recorded.
- A&R, NY
- Criteria, Miami, FL
- Wally Heider, Los Angeles, CA
- Hi Recording and
- Muscle Shoals Sound, AL
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.
Three Time Loser
Alright for an Hour
All in the Name of Rock 'n' Roll
Stone Cold Sober
I Don't Want to Talk About It
It's Not the Spotlight
This Old Heart of Mine
Still Love You
Atlantic Crossing wasn't simply the moment when Rod Stewart left Britain for the greener pasture of America, it was the moment when he accepted his role as a full-fledged, jet-setting superstar. Stewart abandoned the formula of his first five solo records, as well as most of his folk-rock and hard rock undercurrents, trading them for a professionally polished, rock- and soul-inflected pop, courtesy of Muscle Shoals' musicians and producer Tom Dowd.
The glossy production doesn't obscure or trivialize Stewart's talents — coming after the tired Smiler, the slickness actually accentuated his strength as an interpretive singer. "Three Time Loser" and "Stone Cold Sober" catch fire, and Stewart's heart-wrenching rendition of Danny Whitten's "I Don't Want to Talk About It" ranks as one of his finest performances.
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