- An early pressing of the group’s debut studio album, with INCREDIBLE Shootout Winning Triple Plus (A+++) sound or close to it from first note to last – exceptionally quiet vinyl too
- This copy has more CLARITY, ENERGY and DYNAMICS than any pressing of the album you have ever heard, guaranteed
- And the bass is monstrous – finally the kick drum is really kicking, breaking through the mix
- We don’t know how you feel about ECM recordings in general, but we tend to think they are pretty lifeless and boring. Not so here!
- 5 stars: “The music is quite distinctive, floating rather than swinging, electric but not rockish, and full of folkish melodies…[it] grows in interest with each listen.”
This WHITE HOT Stamper of arguably his best album lets the music come to LIFE in a way that no other pressing in our shootout managed to do. We don’t know how you feel about ECM recordings in general, but we tend to think they are pretty lifeless and boring.
Not so here!
This is the sound of the Master Tape — worlds better than what most record lovers have ever had the privilege of hearing. If you want to know how good this album can sound, it’s first come, first served. There’s only one, folks, and this is it.
This copy has more of the clarity, energy and dynamics than any pressing of the album you have ever heard, guaranteed. Where is the muck? The blurry bottom end? The smear? All gone.
And the bass is monstrous. Finally the kick drum is really kicking, breaking through the mix.
Lively and fun, who knew any Pat Metheny album could sound like this?
If you’re a fan of this Five Star album, this copy will show you what you’ve been missing all these years — the kind of sound that gets the music right.
What the Best Sides Of Pat Metheny Group’s Self-Titled Debut 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 1978
- 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.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We’re Listening For On Pat Metheny Group
- 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, 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 and maybe a bit better 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.
AMG 5 Star Rave Review
The first recording by the Pat Metheny Group features the innovative guitarist along with keyboardist Lyle Mays, bassist Mark Egan, and drummer Dan Gottlieb. The music is quite distinctive, floating rather than swinging, electric but not rockish, and full of folkish melodies. The best known of these six Metheny-Mays originals are “Phase Dance” and “Jaco.” This music grows in interest with each listen.
Pat Metheny Group
Despite the common description of Metheny’s music as “fusion,” it was always his intention to create improvised music that had a greater emphasis on bringing out harmony than anything common to what was called “fusion” of the time.
Pastorius, with whom Metheny struck up a friendship while the two attended the University of Miami and later toured in Joni Mitchell’s backing band during her transition from her earlier folk rock compositions to those with more jazz influence, had at the same time explored melodic lines for his instrument within the melodies normally heard, rather than just providing a simple bassline, revolutionizing the way the bass guitar was viewed by the musical establishment. The two friends would talk into the late evening during the early 1970s and discuss the new possibilities their instruments held.
At the same time, Jaco and I were both really on a mission to find a way to play and find a way to present our instruments in an improvisational environment that expressed our dissatisfaction with the status quo at the time.
In 1977, bassist Mark Egan joined Metheny, Mays, and Gottlieb to form the Pat Metheny Group. They released the self-titled album “Pat Metheny Group” in 1978 on the ECM label, which featured several songs co-written by Metheny and Mays. The group’s second album, American Garage (1979), was a breakout hit, reaching #1 on the Billboard Jazz chart and crossing over to the pop charts as well, largely on the strength of the up-tempo opening track “(Cross the) Heartland” which would become a signature tune for the group. The group built upon its success with lengthy tours in the USA and Europe.
The group featured a unique sound, particularly due to Metheny’s Gibson ES-175 guitar coupled to two digital delay units and Mays’ Oberheim synthesizer and Yamaha Organ. The group played in a wide range of styles from experimental to grassroots music. Later on, Metheny began working with the Roland GR300 guitar synthesizer and a Synclavier System, while Mays expanded his setup with a Prophet 5 synthesizer designed by Sequential Circuits, and later with many other synthesizers.