- The Distance finally makes its Hot Stamper debut with outstanding Double Plus (A++) sound or BETTER throughout – exceptionally quiet vinyl too
- Rich, dynamic and natural sounding with low end weight, midrange smoothness and powerful, punchy bass
- Features an A-list of rock and rollers, including Glenn Frey, Bonnie Raitt, and Don Felder, just to name a few
- 4 stars: “The Distance was hailed as a return to form upon the time of its release and, in many ways, might be a little stronger, a little more consistent than its predecessor, Against the Wind”
*NOTE: On side one, track 5, Love’s The Last To Know, plays Mint Minus Minus.
This vintage Capitol pressing has the kind of Tubey Magical Midrange that modern records rarely even 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 the best sides of The Distance 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 even as late as 1982
- 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 space of the studio
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.
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.
And most of the time those very special pressings just plain rock harder. When you hear a copy that does all that, it’s an entirely different listening experience.
What We’re Listening For on The Distance
- Energy for starters. What could be more important than the life of the music?
- 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 for the guitars, keyboards and drums, not the smear and thickness common to most LPs.
- Tight, note-like bass with clear fingering — which ties in with good transient information, as well as 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 players.
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt –– Shelly Yakus in this case — would have put them.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Shame On The Moon
Love’s The Last To Know
Roll Me Away
House Behind A House
AMG 4 Star Review
The Distance was hailed as a return to form upon the time of its release and, in many ways, might be a little stronger, a little more consistent than its predecessor, Against the Wind… “Even Now” and “Roll Me Away” are easily two of his classics, and he turns out craftsmanlike rockers like “Makin’ Thunderbirds” and “Boomtown Blues” with aplomb. For all its attributes, it feels like a mirror image of Against the Wind, an album where the rockers, on the whole, wind up being more convincing than the ballads. Now, that doesn’t mean The Distance is a bad record, since it isn’t — it’s filled with first-rate heartland rockers — but Seger at his best could balance rockers with ballads, or if he concentrated on rockers, it would be more ferocious than this. This album is simply solid, a nice addition to his catalog…