If you have a copy or two laying around, there is a very good chance that side two will be noticeably thinner and brighter than side one. That has been our experience anyway, and we’ve been playing batches of this album for well over a decade. To find a copy with a rich side two is rare indeed.
Most copies lack the top end extension that makes the sound sweet, opens it up and puts air around every instrument. It makes the high hat silky, not spitty or gritty. It lets you hear all the harmonics of the guitars and mandolins that feature so prominently in the mixes.
If you’re looking for a big production pop record that jumps out of your speakers, is full of TUBEY MAGIC, and has consistently good music, look no further.
Until I picked up one of these nice originals I had no idea how amazing the record could sound. For an early ’70s multi-track pop recording it’s about as good as it gets. It’s rich, sweet, open, natural, smooth most of the time — in short, it’s got all the stuff audiophiles like you and me LOVE.
On the better copies practically every track on this side will have killer sound.
When the Morning Comes
Had I Known You Better Then
Las Vegas Turnaround (The Stewardess Song)
I’m Just a Kid (Don’t Make Me Feel Like a Man)
In our experience only the best copies (and the best stereos) can make sense of this track.
Wall to wall, floor to ceiling multi-track ANALOG MAGIC.
Everytime I Look at You
The FUNKIEST Hall and Oates track ever. Bernard Purdie on the drums! And who’s that funky rhythm guitarist with the Motown Sound? None other than John Oates hisself. If you hear echoes of Motown throughout this record, you’re hearing what we’re hearing. Who doesn’t love that sound? (If we could only find real Motown records that sound like this one…)