- An excellent copy with Double Plus (A++) sound from the first note to the last – reasonably quiet vinyl too
- Some of the best sound Dave Mason ever managed, so let’s give credit where credit is due, to the amazing engineer Al Schmitt
- If you’re a Dave Mason fan this is one of the better albums he’s put out and it deserves a place in your collection
- “The spare, acoustic solo performance of “Can’t Stop Worrying, Can’t Stop Loving” heard here, for example, makes the undistinguished full-band studio version instantly obsolete. And the live version of “World In Changes” is one of the best pieces of early ’70s rock, period.”
This is some of the best sound Dave Mason ever managed, so let’s give credit where credit is due, to the amazing Al Schmitt. He recorded and mixed this album and he sure knocked it out of the park.
We know his work well; he happens to have engineered many albums with SUPERB SOUND: Aja, Hatari, Breezin’, Late for the Sky, Toto IV – the guy’s won 13 Grammies, which ought to tell you something.
Side one of the album is recorded in the studio, side two live from the Troubador. Many of the songs on side one would be recorded again by Mason, and not as well in most cases. Mastered at Artisan (where Kevin Gray got his start) by none other than the owner, Bob MacLeod, this record got the A Team treatment from start to finish.
If you’re a fan of Dave Mason this is one of the better albums he’s put out and it deserves a place in your collection. I’ve seen Dave Mason perform here locally twice in the last few years and he puts on a great show. If he comes to your town check him out.
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 1972
- 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’re Listening For on Headkeeper
- 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.
Size and Space
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.
We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.
Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded that open and clear. And how many even dedicated audiophiles would have more than one of two clean British original copies with which to do a shootout? These records are expensive and hard to come by in good shape. Believe us, we know whereof we speak when it comes to getting hold of original pressings of Classic Rock albums.
One further point needs to be made: most of the time these very special pressings just plain rock harder. When you hear a copy do what this copy can, it’s an entirely different – and dare I say unforgettable — listening experience.
To Be Free
In My Mind
Here We Go Again
A Heartache, a Shadow, a Lifetime
Just a Song
World in Changes
Can’t Stop Worrying, Can’t Stop Loving
It’s well known that Mason didn’t want this album put out.
So it’s ironic that this just might be the best Mason album there is! ALONE TOGETHER may have held that distinction at first. But HEADKEEPER’s live versions of 3 A.T. songs blow the originals out of the water. The spare, acoustic solo performance of “Can’t Stop Worrying, Can’t Stop Loving” heard here, for example, makes the undistinguished full-band studio version instantly obsolete.
And the live version of “World In Changes” is one of the best pieces of early ’70s rock, period. The studio side, while not quite as memorable, still showcases Mason as an excellent songcrafter. And why did he feel the need to remake the title track on a later album (without that awesome extended ending, no less)? It was perfect the first time!