- Incredible sound throughout for this Hi Records pressing with each side earning Top Honors — Triple Plus (A+++) from start to finish
- These sides are both stunning — clean, clear, dynamic and spacious with tons of bottom end weight
- “Al Green and producer Willie Mitchell established their classic sound with Green’s second album… Alternating between Sam Cooke’s croon and Otis Redding’s shout, Green develops his own distinctive style, and Gets Next to You only touches the surface of its depth.” – All Music
This vintage Hi Records 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 amazing 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 1971
- 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 We Listen For on Gets Next To 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.
I Can’t Get Next to You
Are You Lonely for Me Baby
God Is Standing By
Tired of Being Alone
I’m a Ram
Light My Fire
You Say It
Right Now Right Now
After the shaky start of Green Is Blues, Al Green and producer Willie Mitchell established their classic sound with Green’s second album, Gets Next to You. The main difference is in the rhythm section. Abandoning the gritty syncopations of deep Southern soul, the Hi Rhythm Section plays it slow and seductive, working a sultry, steady pulse that Green exploits with his remarkable voice. Alternating between Sam Cooke’s croon and Otis Redding’s shout, Green develops his own distinctive style, and Gets Next to You only touches the surface of its depth. Although the album is filled with wonderful moments, few are as astonishing as Green and Mitchell’s reinterpretation of the Temptations’ “I Can’t Get Next to You,” which turns the original inside out.