Steve Winwood
Talking Back To The Night

*NOTE: On side 1, there is a scuff that plays 15 times as a moderate stitch at the start of track 2, "Big Girls Walk Away." On side 2, there is a swoosh that plays 20 times lightly at the start of track 1, "It Was Happiness."

*NOTE: Side 2 of 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 UK Island 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 Talking Back To The Night 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 even as late as 1982
• 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.

Standard Operating Procedures

What are sonic qualities by which a record -- any 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 can get a number of these qualities to come together on the side we’re playing, we provisionally give it a ballpark Hot Stamper grade, a grade that is often revised during the shootout as we hear what the other copies are doing, both good and bad.

Once we’ve been through all the side ones, we play the best of the best against each other and arrive at a winner for that side. Other copies from earlier in the shootout will frequently have their grades raised or lowered based on how they sounded compared to the eventual shootout winner. If we’re not sure about any pressing, perhaps because we played it early on in the shootout before we had learned what to listen for, we take the time to play it again.

Repeat the process for side two and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.

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 insure 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 our Hot Stamper pressing -- or your money back.

What We're Listening For On Talking Back To The Night

• 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 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.

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

• Valerie
• Big Girls Walk Away
• And I Go
• While There's A Candle Burning
• Still In The Game

Side Two

• It Was Happiness
• Help Me Angel
• Talking Back To The Night
• There's A River

Steve Winwood Mini-Bio

Stephen Lawrence Winwood (born 12 May 1948) is an English musician and songwriter whose genres include blue-eyed soul, rhythm and blues, blues rock, and pop rock. Though primarily a guitarist, keyboard player, and vocalist prominent for his distinctive soulful high tenor voice, Winwood plays other instruments proficiently, including drums, mandolin, bass, and saxophone.

Winwood achieved fame during the 1960s and 1970s as an integral member of three major bands: the Spencer Davis Group (1964–1967), Traffic (1967–1969 and 1970–1974), and Blind Faith (1969). During the 1980s, his solo career flourished and he had a number of hit singles, including "While You See a Chance" (1980) from the album Arc of a Diver and "Valerie" (1982) from Talking Back to the Night ("Valerie" became a hit when it was re-released with a remix from Winwood's 1987 compilation album Chronicles). His 1986 album Back in the High Life marked his career zenith, with hit singles including "Back in the High Life Again," "The Finer Things," and the US Billboard Hot 100 number one hit "Higher Love." He found the top of the Hot 100 again with "Roll with It" (1988) from the album Roll with It, with "Don't You Know What the Night Can Do?" and "Holding On" also charting highly the same year. Although his hit singles ceased after the 1980s, he continued to release new albums up to 2008, when Nine Lives, his latest album, was released.

In 2004, Winwood was inducted into the Rock and Roll Hall of Fame as a member of Traffic. He has won two Grammy Awards and an Ivor Novello Award, and has been honored as a BMI Icon. In 2008, Rolling Stone ranked Winwood number 33 on its list of 100 Greatest Singers of All Time.

-Wikipedia