More of The Knack

• A killer copy of The Knack’s debut LP (one of only a handful to hit the site in nearly three years) with a Shootout Winning Triple Plus (A+++) side two mated to an excellent Double Plus (A++) side one – fairly quiet vinyl too
• While doing this shootout, one thing that took us by surprise was how common it was for pressings to be slightly to seriously bass shy — on this album you lose a lot of points for not having enough bass
• No such problems here, though: “monster drums and bass” was just one of the superlative notes we had on this Shootout Winning side two
• With plenty of punchy low end, the music comes to life on this pressing like you’ve never heard before
• Wall to wall live-in-the-studio rock sound to rival Back in Black and Nevermind — “My Sharona” is on this amazing Triple Plus side two, and it rocks
• 4 1/2 stars: “Get the Knack is at once sleazy, sexist, hook-filled, and endlessly catchy — above all, it’s a guilty pleasure and an exercise in simple fun.”
• This is clearly the Knack’s best sounding album. Roughly 100 other listings for the best sounding album by an artist or group can be found here
• In our opinion, Get the Knack is the only Knack record you’ll ever need. Click on this link to see more titles we like to call one and done

This monster Power Pop debut by The Knack is an amazingly well-recorded album, with the kind of wall to wall, big beat, live rock sound that rivals Back in Black and Nevermind — if you’re lucky enough to have a copy that sounds like this! (If you’re not, then it doesn’t.)

“My Sharona” is simply stunning here. You just can’t record drums and bass any better!

And let’s not forget the song “Lucinda.” It’s got exactly the same incredibly meaty, grungy, ballsy sound that Back in Black does, but it managed to do it in 1979, a year earlier.

Mike Chapman produced this album and clearly he is an audiophile production genius. With a pair of Number One charting, amazing sounding Pop albums back to back — Blondie’s Parallel Lines in 1978 and this album early the next year — how much better could he get?

What The Best Sides Of Get The Knack 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 1979
• 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.

Come to Life, Would You!

So many copies we played just didn’t come to life the way the good ones do. Especially noticeable on many of the pressings we played was a lack of bass foundation and punch. When the bass comes in at the opening of “My Sharona” it should make your neighbors come knocking. On most copies the effect is, to be charitable, less than startling, especially if you’ve heard it sound the way it can on our Hot Stamper pressings. Let me tell you, they rock.

Bass, Man

Dropping the needle on the average copy we kept asking ourselves where the bass was! Only the better copies let you hear the bass with all its power and glory intact. (Of course, you have to have the kind of dynamic full-range system that can reproduce that kind of power down low; we never tire of making the case for big dynamic speakers because we know what a thrill it is to hear a record like this played good and loud on them.)

What We’re Listening For On Get The Knack

• 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.

Real Studio Space

One of the qualities we heard on the more transparent copies is huge studio space around the drum kit, especially the kick. We love that “unbaffled” sound; it lets the long-delayed reflections off the back wall be heard clearly. Until we got our EAR 324 in 2007 we couldn’t get a good picture of just what was happening in the studio, but now those reflections are as clear as a bell on record after record, from The Planets to Physical Graffiti.

The advent of top quality stand-alone phono stages is, in our opinion, one of the most important revolutions in audio in recent times. Room treatments that allow that three-dimensional studio space to be recreated in your very own living room are another.

Vinyl Condition

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.

Side One

Let Me Out 
Your Number or Your Name
Oh Tara 
(She’s So) Selfish 
Maybe Tonight 
Good Girls Don’t

Side Two

My Sharona 
Heartbeat 
Siamese Twins (The Monkey and Me)
Lucinda 
That’s What the Little Girls Do 
Frustrated

AMG 4 1/2 Star Rave Review

The Knack attempted to update the Beatles sound for the new wave era on their debut. A good idea that was well executed, but critics cried “foul” when millions sold after Capitol’s pre-release hype (it went gold in 13 days and eventually sold five million copies, making it one of the most successful debuts in history).

Get the Knack is at once sleazy, sexist, hook-filled, and endlessly catchy — above all, it’s a guilty pleasure and an exercise in simple fun. When is power pop legitimate anyway? Includes the unforgettable hits “My Sharona” and “Good Girls Don’t.”