More Bill Withers
- KILLER Triple Plus (A+++) sound or close to it on sides two and three and solid Double Plus (A++) sound on the other two sides
- These sides are incredibly spacious, clear, rich and chock full of analog Tubey Magic – exactly the right sound for this surprisingly well recorded live album
- 4 stars: “A wonderful live album that capitalizes on Withers’ trademark melancholy soul sound while expanding the music to fit the room granted by a live show… One of the best live releases from the ’70s.”
This is the first Hot Stamper copy of this great album to ever hit the site. It took us a long time to pull together enough copies to make this shootout happen and as you can probably tell by the condition notes above, it was not an easy feat, but boy, was it worth all the trouble. The presence and immediacy here are outstanding. Turn it up and Bill is right between your speakers, putting on the performance of a lifetime.
This vintage 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 hall with Bill and his 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 1973
- 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 concert venue
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 Live at Carnegie Hall
- 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
Use Me
Friend Of Mine
Ain’t No Sunshine
Grandma’s Hands (With Rap)
Side Two
World Keeps Going Around
Let Me In Your Life (With Rap)
Better Off Dead
For My Friend
Side Three
I Can’t Write Left Handed
Lean On Me
Lonely Town Lonely Street
Hope She’ll Be Happier
Side Four
Let Us Love
Harlem/Cold Baloney
AMG Review
A wonderful live album that capitalizes on Withers’ trademark melancholy soul sound while expanding the music to fit the room granted by a live show. Lovely versions of “Grandma’s Hands” and “Lean on Me” are balanced by heartfelt downbeat numbers like “Better Off Dead” and “I Can’t Write Left-Handed,” the latter being an anti-war song with a chilling message. The set finishes off with the lengthy “Harlem/Cold Baloney,” with lots of audience-pleased call-and-response going on. One of the best live releases from the ’70s.