The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- A stunning copy of Watson's 1966 release with nearly Triple Plus (A++ to A+++) sound - exceptionally quiet vinyl too
- Here is the in-the-room performance intimacy that will surely bring Doc's music to life in a way you've never heard before
- If you own the veiled, opaque, recessed, ambience-challenged Cisco remaster, you are in for a treat - our Hot Stamper is none of those things!
- "[H]is most affecting folk-style record, with unexpectedly warm vocals matched to the quiet virtuosity of his playing. [The album] features Watson performing lively, achingly beautiful renditions of popular folk standards. All are played with very imposing dexterity by Watson, joined by his son Merle and Russ Savakus on upright bass.
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These Nearly White Hot Stamperpressings have top-quality sound that's often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers ("relative" being relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don't agree, please feel free to return the record for a full refund, no questions asked.
Folks, if you made the mistake of buying the Cisco Heavy Vinyl reissue of this album that came out in the early 2000s, you are in for treat. Instead of Doc and his bandmates playing from behind a thick curtain at the back of your sound room, they can now be heard where they should have been all along: front and center between your speakers!
The difference between a truly outstanding vintage pressing and a modern day mockery of analog could not be more striking.
What the Best Sides of Home Again! 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 1967
- 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.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren't veiled or smeary of course. So many things can go wrong on a record! We know, we've heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We're Listening For on Home Again!
- 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 common to most LPs.
- Tight, note-like bass with clear fingering -- which ties in with good transient information, as well as 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 players.
- Then: presence and immediacy. The musicians aren't "back there" somewhere, way behind the speakers. They're front and center where any recording engineer worth his salt would have put them.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
- Doc Watson – guitar, 12-string guitar, vocals, banjo, harmonica
- Merle Watson – guitar
- Russ Savakus – bass
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 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.
- Down In The Valley To Pray
- The Old Man Below
- Katie Morey
- The F.F.V.
- A-Rovin' On A Winter's Night
- Dill Pickle Rag
- Sing Song Kitty
- Froggie Went A-Courtin'
- Pretty Saro
- Childhood Play
- Rain Crow Bill
- Matty Groves
- Victory Rag
Doc Watson's fourth Vanguard album, Home Again! is his most affecting folk-style record, with unexpectedly warm vocals matched to the quiet virtuosity of his playing. With only a couple of instrumentals on this 14-song collection, the rest features Watson performing lively, achingly beautiful renditions of popular folk standards ("Katie Morey," "Georgie," "Froggie Went A-Courtin'," "Matty Groves").
There isn't a weak number here, although highlights include the haunting "Winter's Night," and "The F.F.V.," the latter a grim but lively song in memory of a train wreck and a dead engineer. All are played with very imposing dexterity by Watson, joined by his son Merle and Russ Savakus on upright bass. This album was a great showcase for Watson's voice -- vaguely similar to but rougher-hewn than Burl Ives -- which is often overlooked in the aura of his playing.