- This vintage Columbia 360 label pressing gives Tony the sound he deserves, with Double (A++) grades on both of these early stereo sides
- Amazing vocal reproduction courtesy of the brilliant engineering of Frank Laico at his favorite studio (and ours), Columbia 30th Street studios
- We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this
Everything that’s good about Vocal Recordings from the ’50s and ’60s is precisely what’s good about the sound of this record.
The huge studio the music was recorded in is captured faithfully here. The height, width and depth of the staging here are extraordinary. We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this.
Transparency and Tubey Magic are key to the sound of the orchestra and you will find both in abundance on these two sides.
Albums such as this live and die by the quality of their vocal reproduction. On this record Mr. Tony Bennett himself will appear to be standing right in your listening room! The space of your stereo room will seem to expand in all directions in order to accommodate them, an illusion of course, but nevertheless a remarkably convincing one.
On this record, like so many others you may have read about on the site, the right amount of Tubey Magic — and by that we mean a very healthy amount — makes all the difference.
Having done this for so long, we understand and appreciate that rich, full, solid sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real Tony Bennett singing live in your listening room. The best copies have an uncanny way of doing just that.
If you exclusively play modern repressings of older recordings (this one is now 51 years old), 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 less than one out of 100 new records do, if our experience with the hundreds we’ve played can serve as a guide.
What the Best Sides of For Once In My Life 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 1967
- 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 For Once In My Life
- 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.
They Can’t Take That Away From Me
Something In Your Smile
Days Of Love
– Crazy Rhythm
– Lullaby Of Broadway
For Once In My Life
Sometimes I’m Happy
Out Of This World
Baby Dream Your Dream
How Do You Say Auf Wiedersehen
Keep Smiling At Trouble (Trouble’s A Bubble)
Those of you who think of “For Once In My Life” as a Stevie Wonder song, reconsider. True, Wonder took it to #2 in 1968, but Tony Bennett’s ballad version was a pop chart entry (his last) and an Easy Listening Top 10 more than a year earlier. On the accompanying album Bennett made his by-now usual selections of standards (“They Can’t Take That Away From Me”), Broadway and Hollywood material, and choices from the catalogs of songwriter favorites such as Leslie Bricusse and Cy Coleman.