An outstanding copy of America’s 1975 release with solid Double Plus (A++) sound or BETTER from start to finish
Both sides have amazing clarity and presence, which is especially noticeable on the vocals
THE BIG SOUND on both sides lets this Greatest Hits compilation hold its own against the originals
“An essential collection for fans who like their ’70s folk with a pop sheen, loads of hooks, and top-drawer arrangements.”
THE BIG SOUND on both sides lets this Greatest Hits compilation hold its own against the originals. They have plenty of bottom end that drives these songs with energy and life. Listen for the bells on ‘Tin Man’; they have the correct transients and harmonics. You never quite get back all of the tubey magic of the originals, but the detail and richness are enough to make you fall in love with this high quality George Martin (re) production.
Is That A Master Tape In Your Pocket… ?
If we didn’t know better we’d say this had Master Tape Sound, something we wouldn’t normally say about a compilation album. But wait just a minute — it IS Master Tape Sound! George Martin remixed the original multitracks, creating a new master mix in the process. The double tracked vocals on ‘Ventura Highway’ are an obvious indicator of the difference between this and the original.(more…)
TUBEY MAGICAL practically MASTER TAPE SOUND on side one! A good sounding copy of this album is a real treat; a superb sounding copy like this one is an EXPERIENCE! We’ve been playing this album for years but I cannot recall a copy with a more extended top end than the ones here. The transparency is off the charts. Side one is natural, relaxed, musical, sweet, tonally correct from top to bottom and overflowing with Tubey Magic.
These green label Warner Brothers originals — like most records — are sonically all over the map. The biggest problem these pressings suffer from is a lack of extreme top to provide harmonics for the guitars. On the average copy the guitars are veiled and dull.
Equally problematic is smear, the loss of transient information. The best copies have guitars that are being played by fingers, with the subtle plucking of same naturally followed by the note produced. So many copies just present you with the note. You don’t really notice what’s missing until you hear a good pressing and suddenly you are aware of the players and their fingers making these sounds. This is one of the main qualities that we listened for to separate the winners from the also-rans.(more…)
The guitars on this record are a true test of stereo fidelity. As it says below, most of the pressings of this record do not get the guitars to sound right. They often sound veiled and dull, and on a copy with a bit too much top end they will have an unnatural hi-fi-ish sparkle.
(This kind of sparkle can be heard on practically every record Mobile Fidelity made in the ’70s and ’80s. Tea for the Tillerman, Sundown, Year of the Cat, Finger Paintings, Byrd at the Gate, Quarter Moon in a 10 Cent Town — the list would be very long indeed, and these are just the records with prominent acoustic guitars!)
The key song on side one that we use to test is Three Roses. There are three sonically-separated individuals each playing six string acoustic guitars, and when this side is cut right the guitars sound just gorgeous: sweet, with all their harmonic structures intact. (It’s also my favorite song on side one.)(more…)
An incredible sounding copy with Shootout Winning Triple Plus (A+++) sound or very close to it on both sides
One of our favorite Hippie Folk Rock albums – the instruments and voices seem to be right in your listening room
The Tubey Magical acoustic guitars on this record are a true test of stereo reproduction – thanks Ken Scott!
“America’s debut album is a folk-pop classic, a stellar collection of memorable songs that would prove influential on such acts as the Eagles and Dan Fogelberg…”
This is clearly America’s best album, and on the better pressings like this one the sound is worthy of Demo Disc status. You’ll find the kind of immediacy, richness and harmonic texture that not many records (and even fewer CDs) are capable of reproducing.
The version we are offering here has the song A Horse With No Name. Some copies without that song can sound very good as well, but with grades these good this copy is going to be very hard to beat.
Interestingly A Horse With No Name never sounds quite as good as the rest of the album. It was recorded after the album came out in 1971 and added to later pressings starting in 1972. Unlike the rest of the album, it was not engineered by Ken Scott at Trident, but by a different engineer at Morgan Studios.(more…)
An outstanding copy of America’s second album, boasting Double Plus (A++) sound or BETTER on both sides
This is a simply wonderful Green Label original pressing – big and rich with excellent transparency and breathy vocals
Some of the most tubey, warm acoustic guitar reproduction you could ever ask for – this is the sound of real analog!
Ventura Highway sounds amazing here, as does everything else; it’s a Demo Disc for acoustic guitars and vocals
The guitars on this record are a true test of stereo reproduction quality. Most of the pressings of this record do not get the guitars to sound right. And when the guitars are perfection, the voices and all the other instruments are right as well. Let’s face it: they just don’t know how to make acoustic guitars sound like this anymore. You have to go back to 40+ year old records like this one to find that sound.
Warner Brothers Green Labels
Green label Warner Brothers originals are sonically all over the map. The biggest problem these pressings suffer from is a lack of extreme top end to provide harmonics for the guitars. The guitars on this copy sound just right, really sweet and open. On the average copy, they sound veiled and dull.(more…)