- The band’s sophomore release, Futurama, makes its Hot Stamper debut with Shootout Winning Triple Plus (A+++) sound or close to it from start to finish – exceptionally quiet vinyl too
- Balanced, musical, present and full-bodied throughout – this early UK pressing was a big step up from every other copy we played
- “… where other bands lose their musical impetus in fussy artsiness, Be-Bop Deluxe is redeemed by the brilliance of its playing, and particularly Mr. Nelson’s guitar playing. Mr. Nelson’s music and his guitar playing lift Be-Bop Deluxe out of the ordinary. The music sounds something like the febrile eclecticism of Roxy Music and Queen and Mr. Nelson admits the kinship.” — The New York Times
This vintage EMI Harvest 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 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 Futurama 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 space of the studio
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.
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
And most of the time those very special pressings just plain rock harder. When you hear a copy that does all that, it’s an entirely different listening experience.
What We’re Listening For on Futurama
- Energy for starters. What could be more important than the life of the music?
- 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 for the guitars, keyboards and drums, not the smear and thickness common to most LPs.
- Tight, note-like bass with clear fingering — which ties in with good transient information, as well as 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 players.
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt would have put them.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Love With The Madman
Maid In Heaven
Music In Dreamland
Between The Worlds
The New York Times Review
Every month—or is it week?—seems to bring a new rock band from Britain, eager to catch a few leftover crumbs from the Anglophilia of the 1960’s. Most fail completely: others latch onto an FM cult success; a very few, unpredictably, make it big—Elton John (if he can be counted British act anymore), Led Zeppelin, Bad Company.
The latest claimant, currently trundling about the country as the opening act on various bills, is caled Be-Bop Deluxe. The band’s first New York date keeps getting postponed; current reports have it sometime in the third week of April. It’s worth waiting for; if this quartet’s live performances match its records, it could be something very special indeed.
The band is built around Bill Nelson, who comes from Yorkshire, is 27 years old and writes the songs, sings them, plays all the guitar parts and adds periodic harmonica and percussion…
For this listener, however, Mr. Nelson’s music and his guitar playing lift Be-Bop Deluxe out of the ordinary. The music sounds something like the febrile eclecticism of Roxy Music and Queen and Mr. Nelson admits the kinship.
Sometimes the sheer plethora of intertwined ideas and styles seems just too much—“Everything I’ve ever heard is kind of mixed up in there,” Mr. Nelson says happily. But where other bands lose their musical impetus in fussy artsiness, Be-Bop Deluxe is redeemed by the brilliance of its playing, and particularly Mr. Nelson’s guitar playing. His records put Mr. Nelson right up there with the other great masters of the electric guitar. One looks forward to hearing the band in person with a far greater than usual expectation.
–John Rockwell, Mark 11, 1976