- One of the best copies to come our way in years — Triple Plus (A+++) sound on both sides
- This one gets it right folks — incredibly rich, full and spacious with the kind of punch down low that few records can claim
- Like The Pretender, this is a great sounding recording with the kind of Tubey Magical Analog Richness we go crazy for
- 4 stars: “Excitable Boy was an actual hit, scoring one major hit single, “Werewolves of London,” and a trio of turntable hits (“Roland the Headless Thompson Gunner,” “Lawyers, Guns and Money,” and the title track).”
Both sides of this copy sound amazing. I’m talking about a BIG punchy bottom end, high-rez transparency, you-are-there immediacy and great energy. These qualities bring Zevon’s music to life in a way that nine out of ten or maybe even nineteen out of twenty cannot.
Just listen to ‘Excitable Boy’ and ‘Werewolves Of London’ to hear how full-bodied the sound of this album can be — the louder you play it the better it gets!
That’s the Big Speaker Quality we live for around here. You turn it up and it starts to really ROCK.
Tubey Magic Is Key
This original British pressing has the kind of Tubey Magical Midrange that modern records cannot even 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.
The Fleetwood Mac Connection
Speaking of Werewolves of London, some of you may not know that the rhythm section for that song is made up of John McVie and Mick Fleetwood, otherwise known as Fleetwood Mac. Over the years I have come to appreciate the fact that they are clearly one of the top rock rhythm sections in the history of popular music. One can listen to Fleetwood Mac’s albums for the sole purpose of hearing the bass and drums create the ideal support for the songs as well as to drive the music rhythmically forward. On Werewolves their contribution is every bit as important to the success of the song as Zevon’s, IMHO.
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 later 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.
Johnny Strikes up the Band
Roland the Headless Thompson Gunner
Werewolves of London
Accidentally Like a Martyr
Night Time in the Switching Yard
Donald Fagen stole the beat for this song; do you know which of his songs is based on this rhythm track?
Tenderness on the Block
Lawyers, Guns and Money