- Animal Tracks makes its Hot Stamper debut here with KILLER Shootout Winning Triple Plus (A+++) sound from start to finish
- An exceptional copy in every way – not only is the sound As Good As It Gets, but there are no marks that play on the 55 year old vinyl
- We guarantee there is dramatically more space, richness, vocal presence, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
- “… featured recent hit singles, B-sides along with other recordings previously released in Britain but not in America, making this a fine compilation of the group’s early career.”
This vintage MGM 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 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 1965
- 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 Animal Tracks
- 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 — Val Valentin in this case — 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.
We Gotta Get Out Of This Place
Take It Easy Baby
Bring It On Home To Me
The Story Of Bo Diddley
Don’t Let Me Be Misunderstood
I Can’t Believe It
Bury My Body
For Miss Caulker
Classic Rock Review
In 1965, The Animals released a pair of albums that were each titled Animal Tracks, a May 1965 release in their native UK and a September release in the US. Aside from sharing a title these two records bore little resemblance in either song selections or effective approach. The UK release was filled with fresh recordings of mainly R&B covers, while the US version featured recent hit singles, B-sides along with other recordings previously released in Britain but not in America, making this a fine compilation of the group’s early career.
…The US version of the album featured an eclectic mix of songs recorded and released in the past year with just a few new recordings made in the summer of 1965. The earliest songs on this album date back to the summer of 1964 with the Burdon / Price original “Take It Easy Baby”, a swinging pop B-Side, as well as two tracks from their 1964 self-titled UK debut album, “Bury My Body” and “The Story of Bo Diddley”. “Don’t Let Me Be Misunderstood” was an early 1965 single that was a trans-Atlantic hit as an original rendition of a song originally recorded by Nina Simone. The US version also includes the thumping original B-Side of “Don’t Let Me Be Misunderstood”, “Club A-Go-Go”, and also a soulful cover of Sam Cooke’s “Bring It On Home to Me”.