More Willie Nelson
More Country and Country Rock
- Willie’s superb 1977 tribute album finally makes its Hot Stamper debut with outstanding Double Plus (A++) sound or BETTER on both sides
- You get clean, clear, full-bodied, lively and musical ANALOG sound from first note to last
- Forget whatever dead-as-a-doornail Heavy Vinyl they’re making – the Tubey Magic, size and energy of this very special vintage pressing simply cannot be beat
- 4 1/2 stars: “To Lefty From Willie is an affectionate and thoroughly enjoyable salute to Lefty Frizzell, featuring stellar versions of a number of Lefty’s best-known songs. . . Nelson is respectful without being overly reverential, giving his own spin to each song without abandoning their honky tonk roots.”
This vintage Columbia Lone Star Stereo 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 To Lefty From Willie 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 1977
- 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 To Lefty From Willie
- 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.
TRACK LISTING
Side One
Mom And Dad’s Waltz
Look What Thoughts Will Do
I Love You A Thousand Ways
Always Late (With Your Kisses)
I Want To Be With You Always
Side Two
She’s Gone, Gone, Gone
A Little Unfair
I Never Go Around Mirrors (I’ve Got A Heartache To Hide)
That’s The Way Love Goes
Railroad Lady
AMG 4 1/2 Star Review
To Lefty From Willie is an affectionate and thoroughly enjoyable salute to Lefty Frizzell, featuring stellar versions of a number of Lefty’s best-known songs — including “Always Late (With Your Kisses),” “She’s Gone, Gone, Gone,” “I Never Go Around Mirrors,” and “That’s the Way Love Goes” — plus revealing takes on a number of obscurities from the influential vocalist’s catalog. Nelson is respectful without being overly reverential, giving his own spin to each song without abandoning their honky tonk roots.