More Tom Waits
- Both sides of this vintage Asylum pressing (the first copy to hit the site in years) have superb sound for Waits’s 1980 release, earning STUNNING Shootout Winning Triple Plus (A+++) grades or close to them
- The overall sound is exceptionally rich and full with wonderful immediacy to the vocals
- Waits’s music is an acquired taste and certainly not for everyone, but those of you who appreciate Randy Newman, just to take one example, are likely to get a lot out of this one
- “…Heartattack and Vine reveals just how much Waits had grown during his tenure with Asylum. …almost every song stands on its own as a dusty gem.”
*NOTE: The first 60 seconds (approx.) of the last track on side 1, “Jersey Girl,” play a little noisier than Mint Minus Minus.
This vintage Ayslum 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 Heartattack and Vine 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 even as late as 1980
- 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 sonic qualities by which a record — any record — 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, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.
When we can get a number of these qualities to come together on the side we’re playing, we provisionally give it a ballpark Hot Stamper grade, a grade that is often revised during the shootout as we hear what the other copies are doing, both good and bad.
Once we’ve been through all the side ones, we play the best of the best against each other and arrive at a winner for that side. Other copies from earlier in the shootout will frequently have their grades raised or lowered based on how they sounded compared to the eventual shootout winner. If we’re not sure about any pressing, perhaps because we played it early on in the shootout before we had learned what to listen for, we take the time to play it again.
Repeat the process for side two and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.
It may not be rocket science, but it’s a science of a kind, one with strict protocols that we’ve developed over the course of many years to insure that the results we arrive at 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 Heartattack and Vine
- 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.
Side One
Heartattack and Vine
In Shades
Saving All My Love for You
Downtown
Jersey Girl
Side Two
‘Til the Money Runs Out
On the Nickel
Mr. Siegal
Ruby’s Arms
AMG Review
Heartattack and Vine, Tom Waits’ first album in two years and his last of seven for Asylum Records, is a transitional album, with tracks like the rhythm-heavy title song and “‘Til the Money Runs Out” foreshadowing the sonic experiments of the Island albums, while piano-with-orchestra tracks like “Saving All My Love for You” and “On the Nickel” (written as a motion-picture title tune) hark back to Waits’ Randy Newman-influenced early days. It is just as well that Waits never entirely gave up on the ballad material.