More Joan Baez
More Pure Folk Recordings
- This vintage copy of Baez’s sophomore album boasts incredible Nearly Triple Plus (A++ to A+++) sound from first note to last – just shy of our Shootout Winner
- Tonally correct, Tubey Magical, clear and present – here’s a copy that can put a living, breathing, 20-year-old Joan Baez right between your speakers
- Richer, smoother yet still very clear and highly resolving in precisely the way so few copies are
- 4 stars: “[Vol. 2] is a hearty helping of folk masterpieces that give ample evidence to exactly how she was established as a leader of the contemporary folk scene of the day.”
This vintage Vanguard 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 Vol. 2 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 1961
- 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.
Standard Operating Procedures
What are the criteria by which a record like this should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, and so on down through the list.
When we can get all, or most all, of the qualities above to come together on any given side we provisionally award it a grade of “contender.” Once we’ve been through all our copies on one side we then play the best of the best against each other and arrive at a winner for that side. Repeat the process for the other side and the shootout is officially over. All that’s left is to see how the sides matched up.
Record shootouts may not be rocket science, but they’re a science of a kind, one with strict protocols developed over the course of many years to ensure that the sonic grades we assign to our Hot Stampers are as accurate as we can make them.
The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing — or your money back.
What We’re Listening For On Vol. 2
- 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
Wagoners Lad
The Trees They Do Grow High
The Lily Of The West
Silkie
Engine 143
Once I Knew A Pretty Girl
Lonesome Road
Side Two
Banks Of The Ohio
Pal Of Mine
Barbara Allen
The Cherry Tree Carol
Old Blue
Railroad Boy
Plaisir D’Amour
AMG 4 Star Review
Joan Baez’s second album, recorded when she was 20 years old, is a hearty helping of folk masterpieces that give ample evidence to exactly how she was established as a leader of the contemporary folk scene of the day. The material chosen is truly exceptional, from the beautifully stark British ballad “The Trees They Do Grow High” to the tragic tales of death and lost love in “Engine 143” and “Banks of the Ohio,” which recall the Carter Family in presentation as much as spirit.
Without a doubt, Baez’s version of “Pal of Mine” is every bit as vibrant as when the Carters recorded it, though here given a more bluegrass sound by the banjo and backup vocal accompaniment of the Greenbriar Boys. The traditional Christmas tune “The Cherry Tree Carol” is presented perfectly by Baez’s gorgeous arrangement. Baez is a true master of her craft, and though she hasn’t always made the best choices for material, the 14 interpretations here are as timeless as the songs themselves.
Similar to Bob Dylan’s self-titled debut, this is an album that all fans of traditional folk music should seek out.