- A KILLER sounding copy with Shootout Winning Triple Plus (A+++) sound or close to it from first note to last
- One of the better sounding Marvin Gaye records we do shootouts for – this copy is big and rich, just the way we like ’em
- Forget whatever dead-as-a-doornail Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and energy of this groundbreaking album from 1973, you need a vintage pressing that sounds as good as this one does
- 5 stars: “… no other record has ever achieved the kind of sheer erotic force of Let’s Get It On, and it remains the blueprint for all of the slow jams to follow decades later — much copied, but never imitated.”
It’s surprising how good some of the classic soul albums from the early ’70s can sound. Let’s Get It On is up there with Stevie Wonder’s Innervisions as albums that offer sound every bit as good as the music.
We had a big stack of copies (it took us ages to pull so many together) and many of them left us cold. When I’m listening to music this important, I don’t want to miss a thing. On the best copies, it was a truly special experience to hear Gaye’s music sound so good.
This vintage Tamla 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 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 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 Let’s Get It On
- 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.
Let’s Get It On
Please Don’t Stay (Once You Go Away)
If I should Die Tonight
Keep Gettin’ it On
Come Get To This
You Sure Love To Ball
Just to Keep You Satisfied
AMG 5 Star Rave Review
After brilliantly surveying the social, political, and spiritual landscape with What’s Going On, Marvin Gaye turned to more intimate matters with Let’s Get It On, a record unparalleled in its sheer sensuality and carnal energy. Always a sexually charged performer, Gaye’s passions reach their boiling point on tracks like the magnificent title hit (a number one smash) and “You Sure Love to Ball”; silky and shimmering, the music is seductive in the most literal sense, its fluid grooves so perfectly designed for romance as to border on parody.
With each performance laced with innuendo, each lyric a come-on, and each rhythm throbbing with lust, perhaps no other record has ever achieved the kind of sheer erotic force of Let’s Get It On, and it remains the blueprint for all of the slow jams to follow decades later — much copied, but never imitated.