- A superb pressing with Shootout Winning Triple Plus (A+++) sound on the fourth side and Nearly Triple Plus (A++ to A+++) sound or very close to it on the other three – just shy of our Shootout Winner
- We guarantee there is dramatically more space, richness, vocal presence, and performance energy on this copy than others you’ve heard.
- 4 stars: ” This is a must even for the casual John Denver listener. Only by fully taking in the music can listeners see his vision of good music and passion for protection of the environment.”
These Nearly White Hot Stamper pressings have top-quality sound that’s often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers (“relative” meaning relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don’t agree, please feel free to return the record for a full refund, no questions asked.
This vintage RCA Victor 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 An Evening With John Denver 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.
What We’re Listening For on An Evening With John Denver
- 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.
The Music Is You
Farewell Andromeda (Welcome To My Morning)
Mother Nature’s Son
Saturday Night In Toledo, Ohio
Rocky Mountain Suite (Cold Nights In Canada)
Grandma’s Feather Bed
The Eagle And The Hawk
My Sweet Lady
Annie’s Other Song
Boy From The Country
Rhymes & Reasons
Pickin’ The Sun Down
Thank God I’m A Country Boy
Take Me Home, Country Roads
Poems, Prayers And Promises
Rocky Mountain High
This Old Guitar
AMG 4 Star Review
“I’ve been looking forward to this for a long, long time,” said John Denver during this live recording for RCA at the California Universal Amphitheater in August/September of 1974. He also tells the audience, most attentive to say the least, that he worked on his songs late into the evening on the beach’s lifeguard stands the first time he arrived in California in the late ’60s.
The album begins with Denver’s song of encouragement, “Farewell Andromeda.” Then it’s off to the races with the uptempo Beatles cover “Mother Nature’s Son,” which Denver receives much praise for playing. “Summer” takes the listener to their favorite vacation spot in the midst of a memory-filled season. A song about Denver’s uncle, “Matthew,” brings to the listeners a lesson “that joy is the thing you should be raised on/And love is just a way to live and die.” Denver gives the audience his version of Jim Connor’s “Grandma’s Feather Bed,” another crowd pleaser. As the record shows, the list of songs flows with a great emphasis on highs and lows, like the momentum of a roller coaster. A wonderful version of “Thank God I’m a Country Boy” ignites the audience, as does “Take Me Home, Country Roads” and his most well-known hit, “Rocky Mountain High.”
This is a must even for the casual John Denver listener. Only by fully taking in the music can listeners see his vision of good music and passion for protection of the environment.