- This pressing boasts very good Hot Stamper sound from the first note to last – exceptionally quiet vinyl too
- With Eno producing and Rhett Davies engineering, every track is (psycho) killer – truly this is a Must Own from 1978
- 5 stars: “Brian Eno brought a musical unity that tied the album together, especially in terms of the rhythm section, the sequencing, the pacing, and the mixing.”
Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
This vintage Sire 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.
Top Notch ’70s Art Rock
We’re huge fans of late ’70s / early ’80s Art Rock and New Wave music, and these guys are obviously some of the best in the biz. I’d be hard-pressed to name another act from the era that put out so many good records.
Along with this album, More Songs About Buildings And Food, Fear Of Music, and Little Creatures are all works of genius. ’77 is full of good ideas, but it doesn’t sound like a fully realized work of art the way the next four albums did.
What the Best Sides of More Songs About Building and Food 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 1978
- 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.
Key Test Tracks
With Our Love turned out to be one of the better tests for side one. The picking of the rhythmic guitar in the intro told us just about everything we needed to know about smear, veiling and resolution. On most copies the instrument is simply blurry, the notes mashed together. When you get a copy with its transients intact, resolving properly and clearly right there in front of you, you have the makings of a Hot Stamper side one.
My other test track for side one was Warning Signs. This is a great track for evaluating transparency and bass. On the average copy you’d never know how much ambiance exists around the drums. Hint: it’s a lot.
Our favorite copies have a fair amount of WHOMP down low, giving the bass guitar that rich, beefy sound that we’re simply crazy for here at Better Records. Once you’ve heard a copy with well-defined, note-like bass, nothing less will do.
A great test track for side two is Artists Only. The guitars in the intro section are almost unbearable to listen to on most copies. I recognize that I am somewhat sensitive to harsh high frequencies, but I’m literally in pain when I listen to an overly compressed, overly midrangey copy. There’s got to be a better way.
Wait, there is. Find a copy that actually has a sweet top end. It makes all the difference.
Take Me to the River
One of the best sounding tracks on the album is the awesome cover of Al Green’s Take Me To The River. Most copies are very skimpy with the amount of bottom end information you get.
Pay attention to the opening before the keys start. The best pressings give you texture on the bass that you won’t find on most. When everything’s working right you’ll also hear ambiance around the organ that’s nowhere to be found on the average pressing.
The bass should be tight, punchy, and fairly deep. We wouldn’t mind if some of the tracks were mixed with a bit more punch to the bottom end, but far be it from us to tell Brian Eno and Rhett Davies how to do their jobs. At least on some copies the bass has the kind of power that brings a song like Take Me To the River to heights you probably never imagined it could go.
Thank You for Sending Me an Angel
With Our Love
The Good Thing
The Girls Want to Be with the Girls
Found a Job
I’m Not in Love
Take Me to the River
The Big Country
Allmusic 5 Star Review
The title of Talking Heads’ second album, More Songs About Buildings and Food, slyly addressed the sophomore record syndrome, in which songs not used on a first LP are mixed with hastily written new material. If the band’s sound seems more conventional, the reason simply may be that one had encountered the odd song structures, staccato rhythms, strained vocals, and impressionistic lyrics once before.
Another was that new co-producer Brian Eno brought a musical unity that tied the album together, especially in terms of the rhythm section, the sequencing, the pacing, and the mixing. Where Talking Heads had largely been about David Byrne’s voice and words, Eno moved the emphasis to the bass-and-drums team of Tina Weymouth and Chris Frantz; all the songs were danceable, and there were only short breaks between them.
Byrne held his own, however, and he continued to explore the eccentric, if not demented persona first heard on 77, whether he was adding to his observations on boys and girls or turning his ‘Psycho Killer’ into an artist in ‘Artists Only.’ Through the first nine tracks, More Songs was the successor to 77, which would not have earned it landmark status or made it the commercial breakthrough it became.
It was the last two songs that pushed the album over those hurdles. First there was an inspired cover of Al Green’s ‘Take Me to the River’; released as a single, it made the Top 40 and pushed the album to gold-record status.
Second was the album closer, ‘The Big Country,’ Byrne’s country-tinged reflection on flying over middle America; it crystallized his artist-vs.-ordinary people perspective in unusually direct and dismissive terms, turning the old Chuck Berry patriotic travelogue theme of rock & roll on its head and employing a great hook in the process.