Mel Torme
My Kind of Music

*NOTE: This record was not noisy enough to rate our M-- to EX++ grade, but it's not quite up to our standards for Mint Minus Minus either. If you're looking for quiet vinyl, this is probably not the best copy for you.

This vintage Verve stereo 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 My Kind of Music 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 1962
• 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.

Size and Space

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small -- they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies -- my notes for these copies often read “BIG and BOLD” -- create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that -- a copy like this one -- it’s an entirely different listening experience.

What We're Listening For On My Kind of Music

• 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 note-like 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.

Vinyl Condition

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 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.

Side One

• You And The Night And The Music
• A Stranger In Town
• I Guess I'll Have To Change My Plan
• Born To Be Blue
• County Fair

Side Two

• Dancing In The Dark
• Welcome To The Club
• By Myself
• The Christmas Song
• Alone Together
• A Shine On Your Shoes

AMG Review

If Verve needed a concept for Mel Tormé's last album on the label, there were certainly a few available. For one thing, My Kind of Music features five of Tormé's own songs, including chestnuts like "The Christmas Song," "A Stranger in Town," and "County Fair," as well as lesser-knowns like "Welcome to the Club."

The other half-dozen compositions are by the underrated songwriting team of Howard Dietz and Arthur Schwartz, creators of the 50s Broadway hit The Bandwagon. Though they're rarely spoken of in the same breath as Rodgers & Hammerstein or Lerner & Loewe -- could it have anything to do with the lack of smoothness in pronouncing their names? -- Dietz and Schwartz wrote many standards, including "You and the Night and the Music," "I Guess I'll Have to Change My Plan," "Dancing in the Dark," and "By Myself." Also, My Kind of Music was the second LP Tormé recorded in Britain, the home of his most devoted audiences.

The mellow arrangements -- by Brits Wally Stott, Geoff Love, and Tony Osborne -- wrapped Tormé in soft strings, but also allowed for many individual voices, including guitar and trumpet. It's a style of arranging that perfectly suited Tormé's growing inclination toward breezy, contemplative adult-pop during the 60s. And Stott's arrangement for the musically varied six-minute showtune "County Fair" captured a quintessentially American musical composition with flair.

Call it whatever you want -- Tormé Sings Tormé, Tormé Sings Dietz & Schwartz, Tormé in London -- but My Kind of Music is a solid album that only suffers in comparison to his masterpieces of the previous few years.