More Rod Stewart
- This original Warner Brothers Palm Tree pressing boasts outstanding Double Plus (A++) sound on both sides
- This vastly underrated Rod Stewart classic has rarely come to the site over the years, and for that we apologize – Atlantic Crossing should be enjoyed by everyone with top quality sound
- This is some of the best Muscle Shoals rock- and soul-inflected pop from producer Tom Dowd we know of
- It’s the last consistently good record Rod Stewart made – I bought it when it came out and I still listen to it and enjoy it to this very day
- AMG awards 4 1/2 stars and raves, “Three Time Loser and Stone Cold Sober catch fire,” and on this copy we guarantee they do
The copies we liked best were the biggest and richest, the least thin and dry. Many of the brighter copies also had noticeable sibilance problems, which the richer and tubier ones did not.
This vintage Warner Brothers Palm Tree 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 The Best Sides Of Atlantic Crossing 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 1975
- 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.
Domestic Vs. British Vinyl
On some of the Rod Stewart albums that we happen to know well, the British pressings are clearly superior; the first two Rod Stewart albums come immediately to mind. After that, strange as it may seem, all the best pressings are domestic. This album is certainly no exception.
I remember bringing back a few Brit copies from England many years ago and being surprised that they were so thick, dull and dubby sounding. Of course, as it turns out they were. The album was recorded right here in the good old U.S. of A. The master tapes are here. The Brit pressings sound dubby because they are made from dubbed tapes.
If there is any doubt, the following is a list of the studios in which Atlantic Crossing was recorded.
- A&R, NY
- Criteria, Miami, FL
- Wally Heider, Los Angeles, CA
- Hi Recording, TN
- Muscle Shoals Sound, AL
What We’re Listening For On Atlantic Crossing
- 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.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
Three Time Loser
Alright for an Hour
All in the Name of Rock ‘n’ Roll
Stone Cold Sober
I Don’t Want to Talk About It
It’s Not the Spotlight
This Old Heart of Mine
Still Love You
AMG 4 1/2 Star Review
Atlantic Crossing wasn’t simply the moment when Rod Stewart left Britain for the greener pasture of America, it was the moment when he accepted his role as a full-fledged, jet-setting superstar. Stewart abandoned the formula of his first five solo records, as well as most of his folk-rock and hard rock undercurrents, trading them for a professionally polished, rock- and soul-inflected pop, courtesy of Muscle Shoals’ musicians and producer Tom Dowd.
The glossy production doesn’t obscure or trivialize Stewart’s talents — coming after the tired Smiler, the slickness actually accentuated his strength as an interpretive singer. “Three Time Loser” and “Stone Cold Sober” catch fire, and Stewart’s heart-wrenching rendition of Danny Whitten’s “I Don’t Want to Talk About It” ranks as one of his finest performances.