- With a nearly Triple Plus (A++ to A+++) side one and a seriously good Double Plus (A++) side two, this pressing will be very hard to beat – exceptionally QUIET vinyl too
- The “breath of life” is alive and well on these old LPs, the best reason for the truly serious audiophile to stay committed to analog
- “Having established herself as one of the foremost interpreters of traditional material, Collins did the same for contemporary folk songwriters on this album, which mixed standards with pristine covers of compositions by Dylan, Pete Seeger and Shel Silverstein. With Jim (Roger) McGuinn arranging and playing second guitar and banjo, this album, which included a fine version of Seeger’s “Turn! Turn! Turn!,” had a clear (if overlooked) influence on the folk-rock he pioneered with the Byrds.”
We had a devil of a time finding clean, quiet, good sounding copies of this album. The mono pressings, which are far more common than the stereo pressings, didn’t sound right to us, and everything produced after the Big Red E label era is a joke, which leaves the Folksinger label pressings from 1963 and the Gold Label pressings from 1965. Both can be good. This LP was by far the quietest we played, which makes it very special indeed.
Acoustic guitar reproduction is key to this recording, and on the best copies the harmonic coherency, the richness, the body and the phenomenal amounts of Tubey Magic can be heard in every strum.
This vintage Gold Label 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 ourstanding 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 1963
- 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 #3
- 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.
Just Like Tom Thumb’s Blues
Hard Lovin’ Loser
I Think It’s Going To Rain Today
Sunny Goodge Street
Dress Rehearsal Rag
In My Life
Having established herself as one of the foremost interpreters of traditional material, Collins did the same for contemporary folk songwriters on this album, which mixed standards with pristine covers of compositions by Dylan, Bob Gibson, Pete Seeger, Ewan MacColl, and Shel Silverstein. With Jim (Roger) McGuinn arranging and playing second guitar and banjo, this album, which included a fine version of Seeger’s “Turn! Turn! Turn!,” had a clear (if overlooked) influence on the folk-rock he pioneered with the Byrds a couple years later.