- KILLER sound throughout with both sides earning shootout winning Triple Plus (A+++) grades
- Both sides here are clean, clear, full-bodied and spacious with a huge bottom end and lots of big rock energy
- “Underneath the gloss, there are a number of songs that rank among Cheap Trick’s finest, particularly the paranoid title track… … it would later feel like one of the group’s last high-water marks.” – All Music, 4 1/2 Stars
This vintage Epic 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 1979
- 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 Dream Police
- 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 Stampe
Way Of The World
The House Is Rockin’ (With Domestic Problems)
Gonna Raise Hell
I’ll Be With You Tonight
Writing On The Wall
I Know What I Want
Need Your Love
At Budokan unexpectedly made Cheap Trick stars, largely because “I Want You to Want Me” had a tougher sound than its original studio incarnation. Perversely — and most things Cheap Trick have done are somehow perverse — the band decided not to continue with the direct, stripped-down sound of At Budokan, which would have been a return to their debut. Instead, the group went for their biggest, most elaborate production to date, taking the synthesized flourishes of Heaven Tonight to extremes.
Underneath the gloss, there are a number of songs that rank among Cheap Trick’s finest, particularly the paranoid title track, the epic rocker “Gonna Raise Hell,” the tough “I Know What I Want,” the simple pop of “Voices,” and the closer, “Need Your Love.”
… it would later feel like one of the group’s last high-water marks.