Take it from us, it is the rare pressing that manages to get rid of the harshness and congestion that plague so many copies.
Look for a copy that opens up the soundstage — the wider, deeper and taller the soundstage the better the sound — as long as the tonal balance stays right.
When you hear a copy sound like this one, relatively rich and sweet, the minor shortcomings of the recording no longer seem to interfere with your enjoyment of the music. Like a properly tweaked stereo, a good record lets you forget all that audio stuff and just listen to the music as music. Here at Better Records we — like our customers — think that’s what it’s all about.
And we know that only the top copies will let you do that, something that not everyone in the audiophile community fully appreciates to this day. We’re doing what we can to change that way of thinking, but progress is, as you may well imagine, slow.
What to Listen For
The best copies have superb extension up top, which allows the grit and edge on the vocals to almost entirely disappear. Some of it is there on the tape for a reason — that’s partly the sound they were going for, this is after all a Bob Clearmountain mix and a Jimmy Iovine production — but bad mastering and pressing adds plenty of grit to the average copy, enough to ruin it in fact.
You can test for that edgy quality on side one very easily using the jangly guitar harmonics and breathy vocals of My Baby.
If the harmonic information is clear and extending naturally, in a big space, you are more than likely hearing a top quality copy.
The Domestic LP and CD
The domestic LP is pretty awful, and the domestic CD is even worse, practically unlistenable in fact. I have one in my car; only the judicious use of the treble control, set steeply downwards, makes the sound even tolerable.
But the album rocks — it’s great driving music.
When I Change My Life
Light of the Moon
Tradition of Love
Don’t Get Me Wrong
I Remember You
How Much Did You Get for Your Soul?
Hymn to Her
Room Full of Mirrors
Get Close is never less than solid as a work of craft, and guitarist Robbie McIntosh, drummer Blair Cunningham, and bassist T.M. Stevens deliver tight and emphatic performances throughout…
While Hynde always dominated the Pretenders, by this time it was obvious that this was fully her show, and if she felt less like rocking and more like exploring her emotions and thoughts about parenthood on midtempo pop tunes, no one in the group was going to prod her into doing otherwise; the presence of a large number of additional session players further buffs away any of Get Close’s potential sharp edges.
Despite all this, Hynde’s voice is in great form throughout, and when she gets her dander up, she still has plenty to say and good ways to say it; “How Much Did You Get for Your Soul?” is a gleefully venomous attack on the musically unscrupulous; “Don’t Get Me Wrong” is a superb pop tune and a deserved hit single; and the Motown-flavored “I Remember You” and the moody “Chill Factor” suggest she’d been learning a lot from her old soul singles.