- You’ll find outstanding Shootout Winning Triple Plus (A+++) sound on this vintage pressing of The Stones’ 1964 release
- Both sides of this Red Label British Decca Mono are doing it right – they’re big, rich and spacious with a huge bottom end
- This is the real, honest sound of the early, early Stones – it is what it is, and trying to fix it will almost surely ruin what’s good about it
- “Set against the dependency on covers and the inexperienced vocalist, however, is a truly cooking and imaginative band. Charlie Watts and Bill Wyman provide a brawny frame for the intermeshing guitars of Richards and Brian Jones as the ensemble lovingly deliver some of their favourite shots of rhythm ‘n’ blues.” – BBC
The best word I could use to sum up both the sound and the music on this record is HONEST. If you want to hear how early Rolling Stones records sound when they sound right, this is the ticket. This is the real sound of the early, early Stones.
Probably what any modern engineer would want to do to the album would only end up making it worse. It is what it is and that’s good enough for us. Since the tapes are now more than 60 years old, no modern reissue will sound remotely as good as this one.
The Stones wanted their stuff to sound like the old Blues albums they grew up on and revered, and with that sound in mind you can’t argue that they didn’t succeed here.
This vintage Decca mono 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 outstanding sides such as these 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 in 1964
- 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 do the best Hot Stamper pressings give you?
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
And most of the time those very special pressings just plain rock harder. When you hear a copy that does all that, it’s an entirely different listening experience.
I Just Want To Make Love To You
Honest I Do
Now I’ve Got A Witness Little By Little
I’m A King Bee
Can I Get A Witness
You Can Make It You Try
Walking The Dog
Set against the dependency on covers and the inexperienced vocalist, however, is a truly cooking and imaginative band. Drummer Charlie Watts and bassist Bill Wyman provide a brawny frame for the intermeshing guitars of Richards and Brian Jones as the ensemble lovingly deliver some of their favourite shots of rhythm ‘n’ blues.
Between the breakneck travelogue opener Route 66 and the madcap parting shot Walking the Dog, however, the Stones crucially sidestep the mistake committed by many others on the scene in thinking that high quality is enough. The shimmering surrealism of Mona, the sensuality of I’m a King Bee, the romanticism of Tell Me and the soulfulness of You Can Make It If You Try create a variety of moods and textures that obviates ‘blueswailing’ one-dimensionality.