More of the Music of Prince
- These vintage Paisley Park pressings were doing just about everything right, with all FOUR sides earning solid Double Plus (A++) grades or close to them
- The sonics are big, full, lively and spacious with more rock solid energy than most other copies we played (particularly on sides one, two and four)
- Problems in the vinyl are sometimes the nature of the beast with these vintage LPs – there simply is no way around them if the superior sound of vintage analog is important to you
- 5 stars: “Fearless, eclectic, and defiantly messy, Prince’s Sign ‘O’ the Times falls into the tradition of tremendous, chaotic double albums like The Beatles, Exile on Main St., and London Calling — albums that are fantastic because of their overreach, their great sprawl. Prince shows nearly all of his cards here, from bare-bones electro-funk and smooth soul to pseudo-psychedelic pop and crunching hard rock, touching on gospel, blues, and folk along the way.”
These vintage Paisley Park pressings have 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, these are the records 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 Sign ‘O’ The Times 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 1987
- 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 these records 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 pressings that sound as good as these two do.
Learning the Record
For our shootout for Sign ‘O’ The Times we had at our disposal a variety of pressings that had the potential for Hot Stamper sound. We cleaned them carefully, then unplugged everything in the house we could, warmed up the system, Talisman’d it, found the right VTA for our Triplanar arm (by ear of course) and proceeded to spend the next hour or so playing copy after copy on side one, after which we repeated the process for side two.
If you have five or more copies of a record and play them over and over against each other, the process itself teaches you what’s right and what’s wrong with the sound of the album. Once your ears are completely tuned to what the best pressings do well that the other pressings do not do as well, using a few carefully chosen passages of music, it quickly becomes obvious how well a given copy can reproduce those passages. You’ll hear what’s better and worse — right and wrong would be another way of putting it — about the sound.
This approach is simplicity itself. First, you go deep into the sound. There you find a critically important passage in the music, one which most copies struggle — or fail — to reproduce as well as the best. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.
It may be a lot of work but it sure ain’t rocket science, and we’ve never pretended otherwise. Just the opposite: from day one we’ve explained step by step precisely how to go about finding the Hot Stampers in your own collection. Not the good sounding pressings you happen to own — those may or may not have Hot Stampers — but the records you actually cleaned, shot out, and declared victorious.
What We’re Listening For On Sign ‘O’ The Times
- 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
Sign “O” The Times
Play In The Sunshine
Housequake
The Ballad Of Dorothy Parker
Side Two
It
Starfish And Coffee
Slow Love
Hot Thing
Forever In My Life
Side Three
U Got The Look
If I Was Your Girlfriend
Strange Relationship
I Could Never Take The Place Of Your Man
Side Four
The Cross
It’s Gonna Be A Beautiful Night
Adore
AMG 5 Star Rave Review
Fearless, eclectic, and defiantly messy, Prince’s Sign ‘O’ the Times falls into the tradition of tremendous, chaotic double albums like The Beatles, Exile on Main St., and London Calling — albums that are fantastic because of their overreach, their great sprawl. Prince shows nearly all of his cards here, from bare-bones electro-funk and smooth soul to pseudo-psychedelic pop and crunching hard rock, touching on gospel, blues, and folk along the way.
This was the first album Prince recorded without the Revolution since 1982’s 1999 (the band does appear on the in-concert rave-up, “It’s Gonna Be a Beautiful Night”), and he sounds liberated, diving into territory merely suggested on Around the World in a Day and Parade. While the music overflows with generous spirit, these are among the most cryptic, insular songs he’s ever written. Many songs are left over from the aborted triple album Crystal Ball and the abandoned Camille project, a Prince alter ego personified by scarily sped-up tapes on “If I Was Your Girlfriend,” the most disarming and bleak psycho-sexual song Prince ever wrote, as well as the equally chilling “Strange Relationship.”
These fraying relationships echo in the social chaos Prince writes about throughout the album. Apocalyptic imagery of drugs, bombs, empty sex, abandoned babies and mothers, and AIDS pop up again and again, yet he balances the despair with hope, whether it’s God, love, or just having a good time. In its own roundabout way, Sign ‘O’ the Times is the sound of the late ’80s — it’s the sound of the good times collapsing and how all that doubt and fear can be ignored if you just dance those problems away.