- An outstanding pressing of Charles’ 1963 release, with solid Double Plus (A++) sound from start to finish
- These sides are doing it all right — richer, fuller, better bass, more Tubey Magic, and the list goes on
- Ray Charles was a genius and the music on this record is just more proof of the undeniability of that fact
- 4 stars: “The high points are very high — ‘Busted,’ his hit reworking of a composition by country songwriter Harlan Howard, is jazzy and tough, and one of his best early-’60s singles…”
*NOTE: On side one, a bubble makes 2 moderate pops on Track 1, Busted, and a mark makes light intermittent ticks on the first half of Track 2, Where Can I Go?
This vintage ABC pressing has the kind of Tubey Magical Midrange that modern records rarely begin to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.
If you love ’50s and ’60s jazz and pop vocals you cannot go wrong here. The sound is tonally correct, Tubey Magical and above all natural. The timbre of each and every instrument is right and it doesn’t take a pair of golden ears to hear it. So high-resolution too.
Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.).
Hot Stamper sound is rarely about the details of a given recording. In the case of this album, more than anything else a Hot Stamper must succeed at recreating a solid, palpable, real Ray Charles singing live in your listening room. The better copies have an uncanny way of doing just that.
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 less than one out of 100 new records do, if our experience with the hundreds we’ve played over the years can serve as a guide.
What the best sides of this Ray Charles Classic 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 1963
- 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.
A Big Group of Musicians Needs This Kind of Space
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 are just plain more involving. When you hear a copy that does all that — a copy like this one — it’s an entirely different listening experience.
What We’re Listening For on Ingredients in a Recipe for Soul
- 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.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
Where Can I Go?
Born To Be Blue
That Lucky Old Sun
Ol’ Man River
In The Evening (When The Sun Goes Down)
A Stranger In Town
Ol’ Man Time
Over The Rainbow
You’ll Never Walk Alone
AMG 4 Star Review
Although it was a big commercial success, reaching number two on the LP charts, this record would typify the erratic nature of much of Charles’ ’60s output. …encompassing pop standards, lowdown blues, Mel Tormé songs, and after-hours ballads.
The high points are very high — “Busted,” his hit reworking of a composition by country songwriter Harlan Howard, is jazzy and tough, and one of his best early-’60s singles…
A number of the remaining cuts are pretty respectable, like the tight big band arrangement of “Ol’ Man Time” and the ominously urbane “Where Can I Go?