Credit engineer Phil Ramone for correctly capturing the sound of every instrument here: the guitars, piano, flutes, strings, drums, percussion instruments — everything has the natural timbre of the real thing. I used to think this recording erred on the bright side, but not the Hot Stamper copies. They are tonally Right On The Money.
When the balance lacks lower midrange the sound gets lean, which causes the strings to seem brighter than they really are, a not uncommon problem with some of the pressings we heard.
We had quite a batch of these to play, including imports, originals, reissues (all stereo), and one lone mono, which was so ridiculously bad sounding we tossed it right out of the competition and into the trade pile.
For those of you playing along at home, we are not going to be much help to you here in finding your own Hot Stampers. Every version had strengths and weaknesses and all are represented in the three listings we are putting up today.
The sound of this side one blew our minds — no other copy could touch it. So open and airy, yet with real weight to the piano and a clear and strong bass line, this copy did EVERYTHING right. The strings are very much part of the ensemble on this album, and getting good string tone, with just the right rosiny texture, the least amount of smear, freedom from shrillness or hardness — this is not easy to do. On the strings, this copy KILLED.