- A stunning Demo Disc quality early pressing of one of the most difficult-to-find records in the world of Classic ’60s Rock
- You get two incredible sides each rating a Triple Plus (A+++) or very close to it
- The sound is HUGE, full-bodied and lively throughout – check out that killer bottom end and the amazing transparency
- Amazing sound for so many classics: When The Music’s Over, Moonlight Drive, Love Me Two Times and more
- Nearly impossible to find copies that play anywhere near this quietly, let alone ones that sound like this!
PHENOMENAL sound for the Doors sophomore classic. You won’t believe how good this copy is — incredibly rich and full yet still clean, clear and dynamic with a big bottom end, driving rock and roll energy and huge amounts of space. Thanks Bruce Botnick, you are da man!
Honestly, we must return or reject 80% of the copies that come through the door, which should go a long way towards explaining why they hit the site with such irregularity. We know what the best stampers are and have for quite a while. What we have a devil of a time doing is finding anyone selling the album who knows how to grade it properly, especially when it comes to the kind of groove damage that’s common to records played on turntables that lack anti-skate adjustment. What good is a record with distortion on vocal peaks, not to mention inner grooves that are borderline unlistenable?
This a Must Own Record, a 1967 recording with unbelievable RAW POWER. Most audiophiles very likely have no idea how well recorded this album is, simply because most pressings don’t do a very good job of translating the energy and life of the master tape onto the vinyl of the day.
The second Doors album is without a doubt one of the punchiest, liveliest, most POWERFUL recordings in the entire Doors catalog, right up there with their debut.
I’m guessing this statement does not comport with your own experience, and there’s a good reason for that: not many copies of the album provide evidence of any of the above qualities. Most pressings are opaque, flat, thin, veiled, compressed and lifeless. They sound exactly the way so many old rock records sound: like any old rock record.
The Butterfly and Small Red E labels are so contemptibly thin and harsh they are not worth the vinyl they’re pressed on. You would be much better off with the DCC Gold CD than any of the reissue vinyl we’ve ever played. Good digital beats bad analog any day.
Botnick Knocks It Out of the Park
But this album is engineered by Bruce Botnick. The right pressings give you the kind of low-end punch and midrange presence you hear on Love’s first album (when you play the right gold label originals). Botnick engineered them both, and what’s even more amazing is that The Doors second is in many ways an even better recording than Love’s!
All tube from start to finish, the energy captured on these Hot Stampers has to be heard to be believed. Not to mention the fact that the live-in-the-studio musicians are swimming in natural ambience, with instruments leaking from one mic to another, and most of them bouncing back and forth off the studio walls to boot.
But the thing that caught us most by surprise is how much LIFE there is in the performances on the better Hot Stamper copies. Morrison pulled out all the stops on songs like Love Me Two Times and the last track on the album, When the Music’s Over. Unless you have a very special pressing there is almost no chance you will ever hear him with this kind of raw power.
Top 100? If we could find more than a sporadic few clean, good sounding copies each year it would surely make the list, joining the other three of the band’s first four albums on there now.
… overall it’s a very successful continuation of the themes of their classic album. Besides the hit “Strange Days,” highlights included the funky “Moonlight Drive,” the eerie “You’re Lost Little Girl,” and the jerkily rhythmic “Love Me Two Times,” which gave the band a small chart single.
… if The Beatles had Sgt. Pepper’s Lonely Hearts Club and The Beach Boys had Pet Sounds, then The Doors’ answer was Strange Days. The liner notes of the 40th-anniversary edition of the album detail how, in a pre-online-leak world, engineer Bruce Botnick snagged an early copy of Sgt. Pepper’s and played it for The Doors, inspiring the band, along with producer Paul Rothchild, to invent new methods of studio recording. This experimentation can be heard in the very first notes of the title track, as Ray Manzarek’s spacey keyboards set the tone for Morrison’s eerie, distorted warning, “Strange days have found us.” It’s the perfect introduction to a perfectly strange album.
You’re Lost Little Girl
Love Me Two Times
People Are Strange
My Eyes Have Seen You
I Can’t See Your Face in My Mind
When the Music’s Over