This UK Vertigo copy of Rod Stewart’s debut solo album boasts outstanding Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too
Rich, smooth and Tubey Magical, this pressing has a lovely musical quality that’s missing from most copies
Titled The Rod Stewart Album for US release, this is Rod the Mod’s acclaimed debut
4 1/2 stars: “The music and the songs are so vivid and rich with detail that they reflect a whole way of life, and while Stewart would later flesh out this blueprint, it remains a stunningly original vision.”
This vintage British pressing has the kind of Tubey Magical Midrange that modern records rarely even 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.(more…)
Most copies tend to be dull, veiled, thick and congested, but the trick with the better pressings is being able to separate out the various parts with ease and hear right INTO the music.
Just listen to those meaty electric guitars, the note-like bass or that amazing snare drum sound with such a huge THWACK — that’s the raw power of rock n’ roll, baby.
It’s also surprisingly airy, open, and spacious — not quite what you’d expect from a bluesy British rock album like this, right? Not too many Faces records sound like this, we can tell you that.
But the engineers here managed to pull it off. One of them was Glyn Johns (mis-spelled in the credits Glynn Johns), who’s only responsible for the first track on side one, True Blue. Naturally that happens to be one of the best sounding tracks on the whole album.(more…)
One note on how to tell if you have a tonally balanced copy, at least on side two. Maggie May has multi-overdubbed, close-miked mandolins that should have strong midrange presence and an especially extended, harmonically correct top end. As soon as that song ends, a very sweet, smooth guitar opens the next track, Mandolin Wind. The two songs lean towards opposite ends of the tonal balance spectrum, but on a good copy, both of them sound right. One’s a little darker, one’s a little brighter, but they should both be right if your system is tonally balanced. (more…)
Excellent Double Plus (A++) sound from start to finish – only the second copy to ever hit the site
These early Vertigo sides are rich, smooth and Tubey Magical yet still relatively clean, clear and spacious
Absolutely as QUIET as any pressing we have played – Mint Minus to Mint Minus Minus – it is the very rare copy that will play this well
5 Stars: “Of course, being a rocker at heart, Stewart doesn’t let these songs become limp acoustic numbers — these rock harder than any fuzz-guitar workout. The drums crash and bang, the acoustic guitars are pounded with a vengeance — it’s a wild, careening sound that is positively joyous with its abandon.”
This early Vertigo pressing has the kind of Tubey Magical Midrange that modern records cannot even 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.(more…)
Triple Plus (A+++) sound on side one backed with excellent Double Plus (A++) sound on side two, this copy is a MONSTER!
Rich and solid, yet open, spacious, and transparent — nothing like the muddy, congested sound we heard all day
5 stars: it “doesn’t feel cobbled together and it serves up tremendous song after tremendous song.”
This Warner Bros. Green Label LP has MASTER TAPE sound on the first side and not far from it on the second! If you like your hard rock dirty and bluesy, you can’t do much better than this record. You’re going to freak out over the meaty guitars, the HUGE bass, and the live-in-the-studio vocals. We played a ton of copies and none of them could hold a candle to this one.
You won’t be a minute into this record before you’re blown away by all the ambience and echo. You can really hear the sound of the big room around these guys as they rock out. The vocals sound Right On The Money — smooth, but with all of the raspiness that Rod Stewart is famous for.
The drums are big and punchy and the guitars sound grungy and right.(more…)
A killer copy with a stunning Triple Plus (A+++) side two and an excellent Double Plus (A++) side one
Amazing live-in-the-studio sound that conveys completely the raw power of one of the hardest rockin’ bands of all time
5 stars in Allmusic and probably the Faces’ Best Album, for sound and music – Maybe I’m Amazed? Hell yeah!
“…a ferocious rock & roll band who, on their best day, could wrestle the title of greatest rock & roll band away from the Stones.”
We knew this album could sound good, but back in the day we sure didn’t know it could sound like this. The best pressings of this album have amazing live-in-the-studio sound that conveys completely the raw power of one of the hardest rockin’ bands of all time.(more…)
You’ll find superb Double Plus (A++) sound or close to it from first note to last on this vastly underrated Rod Stewart classic
One of the few to hit our site in the last four years, and for that we apologize – Atlantic Crossing should be enjoyed by everyone in Hot Stamper form
This is some of the best Muscle Shoals rock- and soul-inflected pop from producer Tom Dowd we know of
AMG raves that “Three Time Loser and Stone Cold Sober catch fire,” and on this copy we guarantee they do
The last consistently good Rod Stewart album? Atlantic Crossing definitely gets my vote.
The copies we liked best were the biggest and richest, the least thin and dry. Many of the brighter copies also had sibilance problems which the richer and tubier ones did not.
What do the best pressings give you?
Energy for starters. What could be more important than the life of the music? The best copies rock like only “The Memphis Horns and three-quarters of Booker T. and the MG’s” can. We’ve been playing this record (at least I have) since it came out in 1975 and love the way it can sound on the better pressings.
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 for the guitar notes, not the smear and thickness so common to most 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.
Domestic Vs. British Vinyl
On some of the Rod Stewart albums that we happen to know well, the British pressings are clearly superior; the first two Rod Stewart albums come immediately to mind. After that, strange as it may seem, all the best pressings are domestic. This album is certainly no exception.(more…)
One of the most surprising things we learned during this shootout was how well recorded the album is. It’s yet another triumph from one of our favorite engineers, KEN SCOTT.
An interesting bit of trivia: most side twos earned a sonic grade that was a full plus higher than any given copy’s grade for side one. Side two most of the time just plain sounds better than side one, so when evaluating your copy be sure to check side two first to hear what is probably going to be the best sound on the album.
The soundstage is absolutely HUGE, while the presence and transparency of this copy go way beyond most pressings. Great rock and roll energy too of course — without that you have nothing on this album.(more…)
If you’re a fan of BIG DRUMS in a BIG ROOM, with jump-out-of-the-speakers practically direct-to-disc sound quality, this is the album for you. The opening track on side one has drums that put to shame 99% of the rock drum kits ever recorded. The same is true of I Know I’m Losing You on side two. It just doesn’t get any better for rock drumming, musically or sonically. Micky Waller is brilliant throughout. Kenney Jones, who only plays on the showstopping “(I Know) I’m Losing You”, is clearly out of his mind).
Some of the best rock bass ever recorded can be found here too — punchy, note-like and solid as a rock. If you have the system for it you are going to have a great time playing this one for your friends, audiophiles and otherwise.
I Know I’m Losing You on this album rocks as hard as anything from the era. If you have BIG DYNAMIC SPEAKERS and the power to drive them to serious listening levels, you will be blown away by the power of this recording.
You know what this album is? It’s the Nirvana Nevermind of the early ’70s. It has that kind of power in the bass and drums. (more…)
For its debut on the site, we present this amazing sounding British original pressing, with a Triple Plus (A+++) side one (the Rod Stewart side)
Side two (the Elton John produced side) was outstanding as well, earning a Double Plus (A++) for its rich, tubey sound
No wonder side one sounds like the best of Rod Stewart & The Faces’ early-’70s albums – Mike Bobak engineered them
“The backing band on Stewart’s side include fellow Face and future Rolling Stone, Ron Wood, on electric guitar and acoustic guitarist Sam Mitchell, who appeared on many of Stewart’s early-’70s solo albums.”
Here’s how this shootout got started.
A few years ago while I was working on the site I had music on youtube playing. The song “Flying” came on from the It Ain’t Easy album, and when the chorus came in I could not believe how big, rich and powerful it sounded — this, on computer speakers!(more…)