A distinguished member of the Better Records Rock and Pop Hall of Fame.
The bottom end is as punchy, well-defined and powerful as they come. There’s plenty of low-end on this record; regrettably most copies suffer from either a lack of bass or a lack of bass definition. I can’t tell you how much you’re missing when the bass isn’t right on this album. (Or if you have the typical bass-shy audiophile speaker, yuck.) When the bass is lacking or ill-defined, the music seems labored; the moment-to-moment rhythmic changes in the songs blur together, and the band just doesn’t swing the way it’s supposed to.
The bass, along with the horn sound, are the two key elements to getting a good copy of this record. The horns are often compressed, making them lose their bite and smearing them together. On some copies you can pick out the trombones and on some copies you can’t; you just hear Horns because the individual instruments are smashed into a congested mess. This is Elvis’ Motown Album; the horns are what bring the music to life. They’re what make this album fun.
On this copy, you get the full-on bottom end WHOMP you paid for, with no loss in control. You can clearly follow Bruce Thomas’s bass lines throughout the songs, a real treat for any music lover. (He and Elvis don’t get along, hence the end of the Attractions as his backing band. I guess we should be thankful for the nine albums on which they were together; many of them are Desert Island Discs for me.) (more…)