One of our good customers had this to say about some Hot Stampers he purchased recently (and one that is still on its way to him):
So I go on YouTube to refresh my memory and listen and James Taylor, that could be good, Toto, what a feel good album, brings back memories, Wish You Were Here, already have a pretty good copy, Sinatra-Basie, what’s that?
So I go to YouTube and first track HOLY CRAP! You know it’s good when you’re throwing a sound stage off your lap-top! Basie orchestra, perfect. Frank comes in swinging and man that guy was so freaking cool, people today have no idea how unbelievably cool he was, and so like 20 seconds if that I am SOLD!!!😂😂😂
Francis A and Edward K was a fave for years. You turned me onto Mel Torme Swings Schubert Alley. Fabulous voice. What I love most of all though is the sense of live flowing swinging music of FA&EK and with Basie. Gets me even off the laptop!
You know, there’s two kinds of audiophiles, the ones who want a vast array of new music, and the ones who are happy with only a small amount of high quality music.
I am definitely in the second group. Love new music but when it comes to what I will sit and listen, very hard to please. When I do find something new though, man do I ever appreciate it. Got a good feeling about Sinatra-Basie. Thanks!
One quick note: I would not be happy with a “small amount” of new music, but I am very happy with a “smaller amount.” Quality over quantity, right? Mediocre records don’t get played — that’s at least one of the many reasons that so many audiophile pressings still remain in pristine condition decades after their production.
I like to say that you have to buy twenty albums to find the one you will fall in love with, and without those other 19 you will never discover the one.
There is no way to predict any of this music stuff. Or sound stuff. You have to experience it, and to experience it you have to spend the time and you definitely have to spend some money.
The work we do in pursuing this hobby is supposed to be fun, and most of the time it is, but it is definitely work to buy hundreds of records and set aside the time to play them. I’ve been doing it since I was about 17; I can still remember the converted house of a record store I used to shop at in Leucadia right off the coast highway here in California.
I bought Loggins and Messina’s first album there the year it came out, 1971, because I was already a big Poco fan and Buffalo Springfield fan and Jim Messina was in both. Bought Frampton’s Wind of Change from the same store the next year. Not even sure why I bought that one. I don’t think I knew who Peter Frampton was and I certainly had no idea who Humble Pie were.
Both became favorites and have been played hundreds and hundreds and hundreds of times in the intervening five decades. (We have a section for these kinds of records which can be found here.)
I needed to buy two or three thousand records to find my top one or two hundred, the records, like our writer here, that I play over and over and never tire of.
It never made any sense to me to accumulate lots of records just to own lots of records, the way this guy did.
Knowing just how much work it takes to dig deeply into the music and the sound of any album makes owning this kind of big collection a sure sign of a superficial approach to both the music and the sound.
It’s easy to buy lots of records. Getting to know them in a serious way is a great deal harder, and a great deal more rewarding if you are serious about sound.
For those of you who insist on doing things a different way, we wish you good luck.