Top Producers – Andrew Loog Oldham

The Rolling Stones – The Rolling Stones

More The Rolling Stones

The Rolling Stones – The Rolling Stones

xxxxx

  • You’ll find outstanding Shootout Winning Triple Plus (A+++) sound on this vintage pressing of The Stones’ 1964 release
  • Both sides of this Red Label British Decca Mono are doing it right – they’re big, rich and spacious with a huge bottom end
  • This is the real, honest sound of the early, early Stones – it is what it is, and trying to fix it will almost surely ruin what’s good about it
  • “Set against the dependency on covers and the inexperienced vocalist, however, is a truly cooking and imaginative band. Charlie Watts and Bill Wyman provide a brawny frame for the intermeshing guitars of Richards and Brian Jones as the ensemble lovingly deliver some of their favourite shots of rhythm ‘n’ blues.” – BBC

The best word I could use to sum up both the sound and the music on this record is HONEST. If you want to hear how early Rolling Stones records sound when they sound right, this is the ticket. This is the real sound of the early, early Stones.

Probably what any modern engineer would want to do to the album would only end up making it worse. It is what it is and that’s good enough for us. Since the tapes are now more than 60 years old, no modern reissue will sound remotely as good as this one.

The Stones wanted their stuff to sound like the old Blues albums they grew up on and revered, and with that sound in mind you can’t argue that they didn’t succeed here.

This vintage Decca mono pressing has the kind of Tubey Magical Midrange that modern records can barely 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.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What outstanding sides such as these have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1964
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre  
  • Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What do the best Hot Stamper pressings give you?

  • Energy for starters. What could be more important than the life of the music?
  • Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
  • 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, not the smear and thickness so common to these 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.

Size

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

And most of the time those very special pressings just plain rock harder. When you hear a copy that does all that, it’s an entirely different listening experience.

TRACK LISTING

Side One

Route 66 
I Just Want To Make Love To You 
Honest I Do 
Mona 
Now I’ve Got A Witness Little By Little

Side Two

I’m A King Bee 
Carol 
Tell Me 
Can I Get A Witness 
You Can Make It You Try 
Walking The Dog

BBC Review

Set against the dependency on covers and the inexperienced vocalist, however, is a truly cooking and imaginative band. Drummer Charlie Watts and bassist Bill Wyman provide a brawny frame for the intermeshing guitars of Richards and Brian Jones as the ensemble lovingly deliver some of their favourite shots of rhythm ‘n’ blues.

Between the breakneck travelogue opener Route 66 and the madcap parting shot Walking the Dog, however, the Stones crucially sidestep the mistake committed by many others on the scene in thinking that high quality is enough. The shimmering surrealism of Mona, the sensuality of I’m a King Bee, the romanticism of Tell Me and the soulfulness of You Can Make It If You Try create a variety of moods and textures that obviates ‘blueswailing’ one-dimensionality.

The Rolling Stones – No. 2

More The Rolling Stones

No. 2

xxxxx

  • This vintage Decca pressing has outstanding sound – both sides did very well in our recent shootout, earning Double Plus (A++) grades and playing fairly quietly
  • This Mono pressing (made from the mono tapes) will show you the real, honest sound of the early, early Stones 
  • 4 1/2 Stars: “…[No. 2 includes] one of the group’s best blues covers, their version of Muddy Waters’ “I Can’t Be Satisfied,” which wasn’t released in America until 1973 and features some killer slide playing by Brian Jones.”

This vintage UK Decca mono pressing has the kind of Tubey Magical Midrange that modern records barely 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…)

The Rolling Stones – Between The Buttons on Decca

More The Rolling Stones

More Between The Buttons

xxxxx

  • An excellent copy with Double Plus (A++) sound from start to finish – one of the better copies from our recent shootout
  • This is classic ’60s Stones sound, courtesy of Dave Hassinger, working in L.A. (RCA) and London (Olympic + Pye) 
  • If you’re looking for the ideal combination of Tubey Magical richness and transparency, this copy is one of the few that will show it to you
  • 5 Stars: “… one of their strongest, most eclectic LPs, with many fine songs that remain unknown to all but Stones devotees.”

This LP has the British track listing, so don’t pick this one up if you’re looking for great sounding versions of Let’s Spend The Night Together or Ruby Tuesday. A bummer, but the domestic copies sound AWFUL, so what can you do? (more…)

The Rolling Stones – Out of Our Heads – Mono or Stereo?

More Rolling Stones

More Out of Our Heads

xxxxx

On this London LP, even though it says the record is electronically re-processed stereo, the songs we heard on side one were dead mono.

So much for believing what you read on album covers. (more…)

Listening in Depth to Aftermath – The First in a String of Must Own Stones Albums

More Aftermath

More Rolling Stones

Listening in Depth

xxxxx

Lady Jane, Under My Thumb and Mother’s Little Helper are three of the best sounding tracks on side one — all three are lively and solid here. On side two Out of Time and I Am Waiting are especially well recorded.

DAVE HASSINGER rightly deserves the credit for the best sounding early Stones album — this one.

Although some songs sound amazing, not every track is well recorded. We just have to accept that the Stones are not The Beatles when it comes to the consistent quality of the earliest recordings. That said, a strong copy like this one paired with the great music on this album will certainly deliver a lot of pleasure to audiophile Stones fans.

Although some songs sound amazing, not every track is well recorded. We just have to accept that the Stones are not The Beatles when it comes to the consistent quality of the earliest recordings. That said, a strong copy like this one paired with the great music on this album will certainly deliver a lot of pleasure to audiophile Stones fans.

In-Depth Track Commentary

Side One

Mothers Little Helper

Superb! On the best copies this track is so transparent you can feel the cool air of the studio.

Stupid Girl

Somewhat dark and compressed as a rule. (more…)