The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- Boasting solid Double Plus (A++) sound throughout, this pressing is guaranteed to blow the doors off any other copy of Year of the Cat you've heard
- With engineering by Alan Parsons, the top pressings are every bit the Audiophile Demo Discs you remember
- The best sides have Tubey Magical acoustic guitars, sweet vocals, huge amounts of space, breathtaking transparency, and so much more
- 4 1/2 stars: "A tremendous example of how good self-conscious progressive pop can be, given the right producer and songwriter -- and if you're a fan of either prog or pop and haven't given Al Stewart much thought, prepare to be enchanted."
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This album can sound really wonderful (what else would you expect from an Alan Parson's production?), but most pressings just can't bring it to life. This one is a HUGE step up, miles away from the gritty, borderline unlistenable copies we hear so often.
Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings (and especially from modern remasterings).
This vintage Janus Records 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 Year Of The Cat 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 1976
- 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.
True Audiophile Demo Disc Sound
Let me tell you, when this album sounds as bad as most copies do, the music just doesn't work. Many copies have a nasty layer of grit on the vocals which is positively painful after a while.
Many of the copies we cleaned and played for our shootouts were just junk. We kept asking ourselves "Where is the Famous Alan Parsons' Dark Side of the Moon Magic that's supposed to be on this record?" Year of the Cat was THE Demo Disc in every stereo store in town when it came out back in the day, but we could not find any correlation between that fact and the sound we were hearing on copy after copy.
Ah, but the better pressings are every bit the True Audiophile Demo Discs you remember. It wasn't all a dream. It was real. Rich acoustic guitars, Tubey Magical sweetness on the vocals, ambience around everything and everyone, huge amounts of space revealed by breathtaking transparency, top and bottom extension -- all this and more can be heard on the best sides.
What We're Listening For on Year Of The Cat
- 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 -- the legendary Alan Parsons in this case -- 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.
- Lord Grenville
- On the Border
- Midas Shadow
- Sand in Your Shoes
- If It Doesn't Come Naturally, Leave It
- Flying Sorcery
- Broadway Hotel
- One Stage Before
- Year of the Cat
AMG 4 1/2 Star Review
Al Stewart had found his voice on Past, Present & Future and found his sound on Modern Times. He then perfected it all on 1976's Year of the Cat, arguably his masterpiece.
There is no overarching theme here, as there was on its two immediate predecessors, but the impossible lushness of Alan Parsons' production and Stewart's evocative Continental narratives give the record a welcome feeling of cohesion that keeps the record enchanting as it moves from "Lord Grenville" to "Midas Shadow" to "Broadway Hotel," before it ends with the haunting title track.
Along the way, Stewart doesn't dwell too deeply in any area, preferring to trace out mysteries with his evocative lyrical imagery and a spinning array of self-consciously sophisticated music, songs that evoke American and European folk and pop with a deliberate grace. This could be unbearably precious if it didn't work so well. Stewart is detached from his music, but only in the sense that he gives this album a stylish elegance, and Parsons is his perfect foil, giving the music a rich, panoramic sweep that mimics Stewart's globe-trotting songs.
The result is a tremendous example of how good self-conscious progressive pop can be, given the right producer and songwriter -- and if you're a fan of either prog or pop and haven't given Al Stewart much thought, prepare to be enchanted.