- A truly incredible copy with a Triple Plus (A+++) side two and an excellent Double Plus (A++) side one – a sonic powerhouse and Demo Disc par excellence
- If you’re a fan of BIG DRUMS in a BIG ROOM, with jump-out-of-the-speakers sound, this is the album for you
- A Top 100 album, and Rod’s best music and best recording by far – nothing can touch it
- “It’s a beautiful album, one that has the timeless qualities of the best folk, yet one that rocks harder than most pop music — few rock albums are quite this powerful or this rich.” – 5 Stars
This is a superb recording, and on a pressing like this it is a Demo Disc with little competition (if you have the kind of system designed to play these sorts of recordings).
Not too many of our Hot Stamper titles are going to ROCK the way this one can. We put it in a class with Led Zep II, Sticky Fingers, Nevermind, and Back In Black — elite company to say the least.
If you’re a fan of BIG DRUMS in a BIG ROOM, with jump-out-of-the-speakers practically direct-to-disc sound quality, this is the album for you. The opening track on side one has drums that put to shame 99% of the rock drum kits ever recorded. The same is true of I Know I’m Losing You on side two. It just doesn’t get any better for rock drumming, musically or sonically. Micky Waller is brilliant throughout. Kenney Jones, who only plays on the showstopping “(I Know) I’m Losing You”, is clearly out of his mind).
Some of the best rock bass ever recorded can be found here too — punchy, note-like and solid as a rock. If you have the system for it you are going to have a great time playing this one for your friends, audiophiles or otherwise.
Nevermind, and then some
I Know I’m Losing You on this album rocks as hard as anything from the era. If you have BIG DYNAMIC SPEAKERS and the power to drive them to serious listening levels, you will be blown away by the power of this recording.
You know what this album is? It’s the Nirvana Nevermind of the early ’70s. It has that kind of power in the bass and drums.
But it also has beautifully realized acoustic guitars and mandolins, something that virtually no recording for the last twenty plus years can claim. In that sense it towers over Nevermind, an album I hold in very high esteem.
A Quick Check for Tonal Balance
One quick note on how to tell if you have a tonally balanced copy, at least on side two: Maggie May has multi-overdubbed, close-miked mandolins that should have lots of midrange presence and an extended top end. As soon as that song ends, a very sweet, smooth guitar opens the next track, Mandolin Wind. The two songs lean towards opposite ends of the tonal balance spectrum, but on a good copy, both of them sound right. One’s a little darker, one’s a little brighter, but they’re both right.
And of course the next track, … Losing You, is a great test for energy, whomp and excitement.
Mike Bobak was the engineer for these sessions from 1970. He is the man responsible for some of the best sounding records from the early ’70s: The Faces’ Long Player, Cat Stevens’ Mona Bone Jakon, Rod Stewart’s Never a Dull Moment, The Kinks’ Lola Versus Powerman And The Moneygoround, Part One, (and lots of other Kinks albums), Carly Simon’s Anticipation and more than his share of obscure English bands (of which there seems to be an endless supply).
Every Picture Tells a Story
Seems Like a Long Time
That’s All Right
Tomorrow Is a Long Time
(I Know) I’m Losing You
Reason to Believe