More British Folk Rock

• The Pentangle’s Masterpiece returns to the site for the first time in years, here with INSANELY GOOD Shootout Winning Triple Plus (A+++) grades on both sides of this early UK Transatlantic pressing – exceptionally quiet vinyl too
• The unprocessed quality found throughout the album has its audiophile credentials fully in order, especially in the area of guitar harmonics, as well as drums that sound like real drums actually sound
• The true foundation of the music is provided by two legendary guitar heavyweights, Bert Jansch and John Renbourn, with Jacqui McShee’s almost unbearably sweet vocals soaring above them
• This is one of the Holy Grail titles we have been trying to find on Transatlantic UK vinyl in clean condition for more than a decade, with almost nothing to show for our efforts until now
• We can find Pentangling — they made a lot of those and for a compilation they sound great on the best pressings
• But this record is in an entirely different league altogether — I suspect it will be many years before we can do it again
• “It is one of the best albums one will ever hear, and as the liner notes say, ‘Play this record to those you love.'” – Rolling Stone

This is an honest-to-goodness Demo Disc. When for a (thankfully) brief time back in the 70s I was selling audio equipment, the song “Pentangling” was a favorite demo cut to play in the store. The sound of the string bass and snare drum are amazingly natural; I don’t know of any other pop album from the era that presents the vibrant timbre of those two instruments better.

This record easily qualifies for our Top 100 List, it’s that good (but unfortunately too rare to make the cut).

This vintage Transatlantic 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 The Pentangle 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 1968
• 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 The Pentangle

• 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.

What To Listen For

The guitars are close-miked and very dynamic, with a tendency to be slightly dry. Immediacy is what they were after and immediacy is what they got — on the best copies, the ones with little to no smear and the richness to keep the tonality balanced.

Hi-Fi Free

Notice how there is nothing — not one instrument or voice — that has a trace of hi-if-ishness. No grain, no sizzle, no zippy top, no bloated bottom, nothing that reminds you of the phony sound you hear on audiophile records at every turn. Silky sweet and Tubey Magical, this is the sound we love here at Better Records.

We bash the crap sound found on the recordings of Diana Krall, Patricia Barber and their ilk because we’ve heard records like this and know that this is how good a female vocal recording can be. There is a difference, and this record will make that difference clear to anyone who takes the time to play it.

Top 100

Why isn’t an amazing sounding recording of such high quality music on our Top 100 Rock and Pop list? Simple: we can’t find more than one good copy every two or three years, which means that the link you would see in the Top 100 section would link to no active copies for years at a time.

There are scores of records we’ve played over the years that deserve to be on the list, if only we could find them.

Note that the domestic copies of the album on Reprise can be very good sounding, but the imports such as this one are in an entirely different sonic league.

Bert’s The Man

Bert Jansch is considered to be one of the greatest acoustic folk guitarists who ever lived. Word has it that he strongly influenced the playing of Jimmy Page, who may in fact have stolen some of Jansch’s best licks. We will leave that controversy for others to sort out; stolen or not, the licks are plenty hot for those of you who like your acoustic guitars complex and folky (as opposed to, say, Cat Stevens’s guitars, which tend to be simple and poppy, not that we love them any the less for it).

Musicians and Instruments

• Terry Cox – Drums, percussion
• Bert Jansch – Guitar, vocals
• Jacqui McShee – Vocals
• John Renbourn – Guitar, vocals
• Danny Thompson – Bass

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