There’s a TON 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.)
It’s without a doubt THE SINGLE MOST IMPORTANT ASPECT of the sound on this album. When the bass is right, everything falls into place, and the music comes powerfully to life. 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.
Hey, these are The Attractions: the pro’s pros. You can’t ask for better, and as expected they deliver big time on this album. But the mastering and pressing problems of most British copies typically make them sound half-hearted and uninspired, which is certainly nothing like what they sound like on the master tape. On the master tape, they play GREAT. You need a very special copy of the LP to hear them play that way, and that’s all there is to it. The better the pressing, the better the band.
(It should be noted that this is not an easy record to reproduce properly. Everything needs to be working at its best to bring this recording to life, especially in the range of 200 cycles and under, an area where most audiophile systems are at their weakest. If you’ve got power to spare down there, this one will blow your mind.)
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.) Not only that, but the drums have real body and resonance, a far cry from the wimpy cardboard drum sound you’ll hear on the typical copy. (more…)