Mary Hopkin – Post Card

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  • KILLER Shootout Winning Triple Plus (A+++) sound or very close to it for both sides of this original Apple import pressing
  • These sides were doing everything right — clean, clear and full-bodied with wonderfully breathy vocals and a solid bottom end
  • Engineered by Ken Scott, Donovan’s “Lord of the Reedy River” is simply amazing on this copy
  • “Paul McCartney produced this debut album of twee but pretty, romantic pop-folk… the highlights are Donovan’s “Lord of the Reedy River” and “The Honeymoon Song,” which McCartney himself had sung with the Beatles way back in 1963 on the BBC…” – All Music, 4 1/2 Stars

The domestic pressings can sound very good but they can’t sound like this Brit original! This is clearly the master tape; all veils have been lifted, and the ambience and transparency of the soundstage are sublime on both sides.

This vintage UK Apple 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 1969
  • 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 Post Card

  • 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.

TRACK LISTING

Side One

Lord Of The Ready River 
Happiness Runs (Pebble And The Man) 
Love Is The Sweetest Thing 
Y Blodyn Gwyn 
The Honeymoon Song 
The Puppy Song 
Inch Worm

Side Two

Voyage Of The Moon 
Lullaby Of The Leaves 
Young Love 
Someone To Watch Over Me 
Prince En Avignon 
The Game 
Show Business

AMG  Review

Paul McCartney produced this debut album of twee but pretty, romantic pop-folk. Besides “Those Were the Days”, the highlights are Donovan’s “Lord of the Reedy River” and “The Honeymoon Song,” which McCartney himself had sung with the Beatles way back in 1963 on the BBC. If there’s a fault to be found, it’s that there’s too high a percentage of pre-rock/pop standards à la “There’s No Business Like Show Business.” As it turns out this was more due to the leanings of McCartney than Hopkin, who preferred the more simply arranged folk numbers such as the Donovan covers and the Welsh “Y Blodyn Gwyn.” Also on board is a rather nice composition, “The Game,” by Beatles producer George Martin, who contributed some piano and orchestra conducting to the album.