More of the Music of The Byrds
- With very good Hot Stamper sound from start to finish, this Columbia Red Label pressing will be hard to beat, especially for those looking for quiet vinyl
- The 360 Label pressings in stereo will always win our shootouts, but there are Red Label pressings like this one that can sound very good, just not as good
- It’s richer and fuller than the average copy, with notably more presence, and that will be especially true when you compare it to whatever godawful Heavy Vinyl pressing may be currently available
- This is true of even our lowest-priced, lowest-graded copies – they are guaranteed to sound much better than any pressing you can find on the market today, as well as any pressing you may already own
- 5 stars: “One of the greatest debuts in the history of rock … nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat.”
- If you’re a fan of the Byrds, this is a Classic from 1965 that belongs in your collection.
This vintage Columbia 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 Mr. Tambourine Man 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 1965
- 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.
More Black Swans
Years ago we wrote that the 360 Label original pressings were the only ones with the rich, warm sound of tubes:
Looking for Tubey Magic? The best 360 pressings are the only way to go, and even those are often lacking. (Forget most red label copies; they have nice qualities but Tubey Magic is not among them.) But the best pressings of The Byrds’ albums — those with truly Hot Stampers — are swimming in it.
Now we regularly find exceptionally good sounding Red Label reissues with plenty of lovely Tubey Magic. We cannot tell the originals from the reissues during the shootout, because they sure don’t fit with our idea of what a reissue would sound like. Lots of originals can sound thin and bright the way some Columbia Red Label pressings do.
Fortunately we can’t see the labels of the records that we’re auditioning, which helps make the admittedly subjective evaluation of records somewhat more objective than might otherwise be the case.
What We’re Listening For On Mr. Tambourine Man
- 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.
Mono Vinyl
None of the Columbia monos we’ve played have ever done much for us. Congested and compressed, with no real top, who in his right mind could possibly tolerate that kind of sound on modern equipment?
Although, to be fair, we’ve stopped buying them, so there may actually be a good copy or two out there in used record land that we haven’t heard. In our defense, who really has the time to play records with so little potential for good sound?
Sundazed Mono
This is probably the best of all the Sundazed mono reissues. I never thought I would hear a Sundazed record with this kind of richness and sweetness. It reminds me of a good 360 pressing, and that has virtually never happened before. Side one is a tad better than side two, which is slightly brighter than it should be. But both sides are exceptionally good considering the modern mastering.
A Tough Record to Play
Mr. Tambourine Man is a difficult record to reproduce. Do not attempt to play it using anything other than the highest quality equipment.
Unless your system is firing on all cylinders, even our hottest Hot Stamper copies — the Super Hot and White Hot pressings with the biggest, most dynamic, clearest, and least distorted sound — can have problems. Your system should be thoroughly warmed up, your electricity should be clean and cooking, you’ve got to be using the right room treatments, and we also highly recommend using a demagnetizer such as the Walker Talisman on the record, your cables (power, interconnect and speaker) as well as the individual drivers of your speakers.
This is a record that’s going to demand a lot from the listener, and we want to make sure that you feel you’re up to the challenge. If you don’t mind putting in a little hard work, here’s a record that will reward your time and effort many times over, and probably teach you a thing or two about tweaking your gear in the process (especially your VTA adjustment, just to pick an obvious area many audiophiles neglect).
Side One
Mr. Tambourine Man
I’ll Feel a Whole Lot Better
Spanish Harlem Incident
You Won’t Have to Cry
Here Without You
The Bells of Rhymney
Side Two
All I Really Want to Do
I Knew I’d Want You
It’s No Use
Don’t Doubt Yourself, Babe
Chimes of Freedom
We’ll Meet Again
AMG 5 Star Rave Review
One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn’s immediately distinctive 12-string Rickenbacker jangle and the band’s beautiful harmonies.