- This vintage Columbia 360 label pressing gives Tony the sound he deserves, with Double Plus (A++) grades on both of these early stereo sides
- Brilliant engineering by Frank Laico, the man who recorded I Left My Heart In San Francisco and Sketches of Spain, among others
- Tony Bennett was in fine form and still able to sing the hell out of these songs in 1969 – when you hear the quality of his voice on this very album you will perhaps appreciate the toll this century has taken on him
- Vintage record guys with top quality turntables – like us – get to hear Tony the way he should be heard, with his voice at the peak of its powers
- Bennett’s wonderful 1965 release finally makes its Hot Stamper debut here with KILLER Shootout Winning Triple Plus (A+++) sound throughout
- These sides are exceptionally spacious and three-dimensional, as well as relaxed and full-bodied – Tony is right in the room with you on this one
- “Employing Sinatra arranger Don Costa, Tony Bennett put together a concept album similar to Sinatra’s Come Fly with Me.”
- A wonderful early pressing of this classic collaboration, with outstanding Double Plus (A++) sound from start to here finish and vinyl that is hard to find any quieter
- When heard on our best Hot Stamper pressings, the album clearly belongs near the top of the All Time Great Male Vocal Records
- Waltz for Debby is the best thing here. You want to hear the Bennett-Evans Magic? Go right to that track
- 4 1/2 stars: “… one of the best albums of either’s career… an excellent jazz-pop hybrid in which both musicians were shown off to advantage.”
If you like sophisticated vocal jazz I don’t think you can do much better than this record, especially when it sounds like this. Tony Bennett’s voice sounds wonderfully rich, BREATHY, and above all REAL.
The soundstage is open and spacious, the piano full-bodied and clear, and the vocals have the clarity and fullness missing from most pressings. It’s incredible to hear these two top-notch musicians interacting and responding to each other in this kind of huge, open and natural space. (more…)
- This original Six-Eye stereo pressing has insanely good sound throughout with both sides earning shootout winning Triple Plus (A+++) grades
- The sound here is incredibly big, rich and Tubey Magical yet still open, spacious and detailed with a lovely bottom end
- “The drive of the Bennett vocals is excellently paced by the swingin’ Basie crew. Tunes are nicely paced and varied. It’s an exciting set that builds track after track” – Billboard
- Tony Bennett’s 1966 album of movie songs arrives on the site with outstanding Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too
- The sound on this superb pressing is full-bodied and lively, with the kind of Tubey Magic Columbia still knew how to get on analog tape
- Musical Director Johnny Mandel partnered with Neal Hefti and Quincy Jones, arranging and conducting their own compositions, including “Girl Talk,” from Harlow, and “Emily,” from The Americanization of Emily
- Some of the songs that Bennett could hardly have sung any better are “Days Of Wine And Roses,” “The Shadow Of Your Smile” and “The Second Time Around,” the last two previously recorded by Frank Sinatra, and we leave it to you to judge who comes off better
- With two seriously good Double Plus (A++) sides, this was one of the better sounding copies we played in our recent shootout
- This is an excellent vintage 360 stereo pressing, with the all important midrange magic that’s surely missing from whatever 180g reissue has been made from the tapes (or, to be clear, a modern digital master copied from who-knows-what-tapes)
- “As the studio album followup to Tony Bennett’s breakthrough record, I Left My Heart in San Francisco, I Wanna Be Around had a lot to live up to, but since San Francisco was a culmination of Bennett’s development, and not a fluke, I Wanna Be Around turned out to be almost on a par with its predecessor… A worthy successor.”
- This superb LIVE double album debuts with a Shootout Winning Triple Plus (A+++) side three, with outstanding Double Plus (A++) sound on the others
- Our exceptional 360 stereo pressing here will bring this definitive Tony Bennett concert performance right into your very own listening room
- Plenty of analog richness, space, smoothness and Tubey Magic, all absolutely essential if you want the ’60s to sound like the ’60s
- 4 1/2 stars: “Recorded one week before the release of the I Left My Heart in San Francisco album that would catapult Tony Bennett’s career into the stratosphere, this album effectively sums up his accomplishments so far… it gives a broad sense of Bennett’s work, and it does so in the format with which he’s most comfortable — live in concert.”
- This vintage pressing gives Tony the sound he deserves, with excellent Double Plus (A++) grades on both of these early stereo sides
- Amazing vocal reproduction courtesy of the brilliant engineering of Frank Laico at his favorite studio (and ours), Columbia 30th Street studios
- We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this
Everything that’s good about Vocal Recordings from the ’50s and ’60s is precisely what’s good about the sound of this record.
The huge studio the music was recorded in is captured faithfully here. The height, width and depth of the staging here are extraordinary. We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this.
Transparency and Tubey Magic are key to the sound of the orchestra and you will find both in abundance on these two sides.
Albums such as this live and die by the quality of their vocal reproduction. On this record Mr. Tony Bennett himself will appear to be standing right in your listening room! The space of your stereo room will seem to expand in all directions in order to accommodate them, an illusion of course, but nevertheless a remarkably convincing one. (more…)
Sonic Grade: F
That weird boost around 10k that Stan Ricker liked to add to practically every record he mastered wreaks havoc on the sound of Tony Bennett’s voice. I would be very surprised if the current in-print CD doesn’t sound more tonally natural, and for us audiophile record lovers – not lovers of audiophile records, but guys who love records with audiophile sound – that’s simply another nail in the coffin for one of the most laughably inept remastering labels in the history of that sad enterprise. (more…)
- Both sides of this vintage Black Print 360 pressing earned outstanding Double Plus (A++) grades for their superb sound – exceptionally quiet vinyl too
- Everything that’s good about All Tube Vocal Recordings from the ’50s and ’60s is precisely what’s good about the sound of this record
- “The moods vary from a wild Caravan, introduced with a drum solo by Chico Hamilton joined by flute and bass and seemingly held together by Tony’s voice alone, to Don Costa’s almost cinematic big orchestra styling of Spring in Manhattan as well as the lightly melancholy moods of When Joanna Loved Me and Don’t Wait Too Long. Throughout the album, Tony’s effortlessly soaring voice gives meaning to every number.”
Albums such as this live and die by the quality of their vocal reproduction. On this record Mr. Tony Bennett himself will appear to be standing right in your listening room, along with the other other musicians from theses sessions.
Transparency and Tubey Magic are critical to the sound of the orchestra and you will find both in abundance on these sides. (more…)