The Gold Standard for Female Vocal Blue-Eyed Soul is here in White Hot Stamper form! It takes us AGES to pull together enough clean copies to get this shootout going, and this one was a HUGE step up from most of them. We’re always looking for a killer pressing (who out there doesn’t want to hear Son Of A Preacher Man sound great?) but it is difficult to find one that does half as many things right as this one does!

Most copies of this album are noisy, and unfortunately this one is no exception. It can get pretty ticky at times, so if that’s going to drive you crazy this may not be the one for you. If that’s not a problem though, this could be your best chance to get great sonics at a substantial discount! (If we ever find a copy that sounds this good and plays quietly, I guarantee it would cost at LEAST twice as much!). This record was picked as the #9 coolest record of all time in the April 11, 2002 issue of Rolling Stone and chosen by Mojo Magazine as one of the best 100 albums ever released. The All Music Guide review linked above is especially insightful and well worth reading.

Side one is a HUGE step up over most we’ve heard. It’s WAY richer and fuller, WAY bigger, and has possibly the best bottom end we’ve ever heard for this album! The sweet, extended top end here does wonders for Dusty’s voice as well. We rated side one at A+++, and I doubt there are many out there that can compete with it.

Side two may not be quite as stunning at A++, but it still runs circles around the typical pressing. It’s got the top end extension and presence you really need if you want the vocals to sound their best. Just a touch more clarity and this side could very well be competitive with the elites!

TRACK LISTING

Side One

Just a Little Lovin’
So Much Love
Son of a Preacher Man
I Don’t Want to Hear It Anymore
Don’t Forget About Me
Breakfast in Bed

Side Two

Just One Smile
The Windmills of Your Mind
In the Land of Make Believe
No Easy Way Down
I Can’t Make It Alone

AMG  Review

Sometimes memories distort or inflate the quality of recordings deemed legendary, but in the case of Dusty in Memphis, the years have only strengthened its reputation. The idea of taking England’s reigning female soul queen to the home of the music she had mastered was an inspired one. The Jerry Wexler/Tom Dowd/Arif Mardin production and engineering team picked mostly perfect songs, and those that weren’t so great were salvaged by Springfield’s marvelous delivery and technique… It’s truly a disc deserving of its classic status.