The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- An excellent pressing with Double Plus (A++) sound from first note to last
- The trick on this album is to find rich, smooth, edge-free sound, and this copy delivers those qualities like few others
- "Hawks and Doves has a homey feel. 'Little Wing,' bare and haltingly lyrical with its miked harp and unaccompanied acoustic, is simpler than anything on the folky Comes a Time, and the rest of the music is defined by Ben Keith's laconic dobro and steel and Rufus Thobodeaux's sawing fiddle." Robert Christgau (A-)
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On side one, the second track, The Old Homestead, has an especially intimate vocal worth checking out.
Flip the record over and listen to how full-bodied the piano is on the first track on side two, Stayin' Power.
This is the sound of ANALOG. So many copies are dry and edgy, as is the CD, I would guess, but here the sound is smooth, natural and enjoyable.
This vintage Reprise 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 Hawks and Doves 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 1980
- 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.
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 many of the qualities above to come together on the side we're playing we provisionally award it a Hot Stamper grade, which may or may not be revised over the course of the shootout as we hear what the various other copies sound like. Once we've been through all our side ones, we then play the best of the best against each other and arrive at a winner. Other copies have their grades raised or lowered depending on how they sounded relative to the shootout winner. Repeat the process for the other side 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 Hawks and Doves
Less grit -- smoother and sweeter sound, something that is not easy to come by on Hawks and Doves.
A bigger presentation -- more size, more space, more room for all the instruments and voices to occupy. The bigger the speakers you have to play this record the better.
More bass and tighter bass. This is fundamentally a pure rock record. It needs weight down low to really rock.
Present, breathy vocals. A veiled midrange is the rule, not the exception.
Good top end extension to reproduce the harmonics of the instruments and details of the recording including the studio ambience.
Last but not least, balance. All the elements from top to bottom should be heard in harmony with each other. Take our word for it, assuming you haven't played a pile of these yourself, balance is not that easy to find.
Our best copies will have it though, of that there is no doubt.
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.
- Little Wing
- The Old Homestead
- Lost in Space
- Captain Kennedy
- Stayin' Power
- Union Man
- Comin' Apart at Every Nail
- Hawks & Doves
About the Album
Hawks & Doves is the tenth studio album by Canadian folk rock musician Neil Young, released in October 1980.
Its two sides were recorded in different circumstances, side one being culled from sessions dating from approximately 1974 through 1977, and side two from sessions set in early 1980 specifically for the album. It is also one of Young's shortest albums, its running time just under half an hour.
Side one includes "Little Wing" and "The Old Homestead", which were originally recorded during the sessions for 1975's Homegrown. "Lost in Space" was a Comes a Time outtake and "Captain Kennedy" was recorded the night of the Hitchhiker recording in 1976.
Side two consists of the recordings intended for the album, being the straightest country and western songs Young had penned to date, even more so than those found on American Stars 'N Bars or Comes a Time.