Another in our series of Home Audio Exercises with advice on what you should be listening for when critically evaluating your copy (or ours) of the album.
The best copies will tend to have the qualities detailed below, and the more abundant these qualities are on any given pressing, the higher its grade will be.
Yes, it is a science, an empirical one, which can only be carried out by the use of strict protocols and controls, but it sure ain’t rocket science. All you need is the system, the room, the records, the time and the will to do the painstaking critical listening required to carry out the task.
It can be done, but you could spend a lifetime meeting audiophiles of the vinyl persuasion and never run into a single one who has made the effort more than a handful of times.
To be honest, shootouts are a bitch. If you aren’t getting paid to do them the way we are, finding the motivation to devote the time and energy required to do them right — not to mention the piles of copies of each record you will need — is daunting to say the least.
So, back to the question: what to listen for?
Less grit – smoother and sweeter sound, something that is not easy to come by on Exile.
A bigger presentation – more size, more space for all the elements 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 rock the way Glyn Johns wanted it to.
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.
Hot Stamper Stones Sound
This shootout is always a struggle, an uphill battle all the way. You’d have to find, clean and play a ton of copies to come up with four sides that can do this music justice. We’re sure that Stones fans and Hot Stamper die-hards are going to be very pleased with this copy.
Of course, Hot Stampers can only give you what’s on the tape. In this case, it’s some rude, crude, dirty rock & roll. That’s clearly what the Stones were going for here. In terms of audiophile appeal, Tea For The Tillerman this ain’t.
Exile On Main Street may have some of The Rolling Stones best music on it, but those looking for the best sounding Stones album should look in the direction of Sticky Fingers or Let It Bleed. They’re better recordings.
But this album is no slouch. It can be a bit gritty and grainy at times, but you gotta believe that’s kind of the sound the Stones heard in the booth and were totally cool with.
One Tough Album (To Find AND To Play)
Not only is it hard to find great copies of this album, it ain’t easy to play ’em either. You’re going to need a hi-res, super low distortion front end with careful adjustment of your arm in every area — VTA, tracking weight, azimuth and anti-skate — in order to play this album properly. If you’ve got the goods you’re gonna love the way this copy sounds. Play it with a budget cart / table / arm and you’re likely to hear a great deal less magic than we did.
This recording is quite difficult to reproduce, which means it ranks high on our Difficulty of Reproduction Scale (DORS). Do not attempt to play it using any but the best equipment.
In its way, this is an ideal record to gauge how much progress you have made in audio. Here is what I had to say about a Brewer and Shipley album that ranks high on the DOR scale:
I can also tell you that if you have a modest system this record is just going to sound like crap. It sounded like crap for years in my system, even when I thought I had a good one. Vinyl playback has come a long way in the last five or ten years and if you’ve participated in some of the revolutionary changes that I talk about elsewhere on the site, you should hear some pretty respectable sound. Otherwise, I would pass. On the Difficulty of Reproduction scale, this record scores fairly high. You need lots of tubey magic and freedom from distortion, the kind of sound I rarely hear on any but the most heavily tweaked systems, the kind of systems that guys like me have been slaving over for twenty years. If you’re a Weekend Warrior when it comes to stereo, this is not the record for you.
This is a tough record to find the right sound for — even if you do have an excellent pressing. It took us a long time to get to the point where we could clean the record properly, twenty years or so, and about the same amount of time to get the stereo to the level it needed to be, involving, you guessed it, many of the Revolutionary Changes in Audio we tout so obsessively.
It’s not easy to find a pressing with the low end whomp factor, midrange energy and overall dynamic power that this music needs, and it takes one helluva stereo to play one too. If you have the kind of big system that a record like this requires, demands even, you are going to hear some surprisingly good sound when you drop the needle on these Hot Stampers.
Rip This Joint
Shake Your Hips
Torn and Frayed
Sweet Black Angel
Turd on the Run
I Just Want to See His Face
Let It Loose
All Down the Line
Stop Breaking Down
Shine a Light
Greeted with decidedly mixed reviews upon its original release, Exile on Main St. has become generally regarded as the Rolling Stones’ finest album. It’s the kind of record that’s gripping on the very first listen, but each subsequent listen reveals something new. Few other albums, let alone double albums, have been so rich and masterful as Exile on Main St., and it stands not only as one of the Stones’ best records, but sets a remarkably high standard for all of hard rock.