Incredible sound for this followup to Parallel Lines with both sides earning a Triple Plus (A+++)!
Turn it up as loud as you want – the top end and vocals are balanced, smooth and tonally correct, not gritty or edgy
The drums and bass of Die Young Stay Pretty are as real sounding as if you were standing five feet from the band
4 1/2 stars on Allmusic:The British… made Eat to the Beat another chart-topper, with three major hits, including a number one ranking for Atomic and almost the same success for Dreaming.
This is Mike Chapman’s Big Beat Sonic Masterpiece — yes, bigger and better than Parallel Lines — akin to the debuts of The Knack and The Cars, and every bit as huge and punchy as either.
Eat to the Beat lives and dies by its energy, its bass and above all by its transient snap. The drums and bass of Die Young Stay Pretty are as real sounding as if you were standing five feet in front of a the band. On the best copies it’s hard to imagine that song sounding any better. The drum and bass are massive in their attack. It’s the very definition of punch.(more…)
Can this kind of music get any better? This album is a MASTERPIECE of Pure Pop, ranking right up there with The Cars first album. I can’t think of many albums from the era with the perfect blend of writing, production and musicianship Blondie achieved with Parallel Lines.
As expected, if you clean and play enough copies of a standard domestic major label album like this one, sooner or later you will stumble upon The One, and boy did we ever. This side two had OFF THE CHARTS with presence, breathy vocals, and punchy drums. It was positively swimming in studio ambience, with every instrument occupying its own space in the mix and surrounded by air. There was not a trace of grain, just the silky sweet highs we’ve come to expect from analog done right. (more…)
The Knack’s debut finally returns to the site and with excellent Double Plus (A++) sound throughout
With plenty of bass punch, the music comes to life like you’ve never heard before
Wall to Wall Live-in-the-Studio Rock Sound to rival Back in Black and Nevermind
4 1/2 stars: “Get the Knack is at once sleazy, sexist, hook-filled, and endlessly catchy — above all, it’s a guilty pleasure and an exercise in simple fun.”
This Monster Power Pop Debut by the Knack is an AMAZINGLY well-recorded album, with the kind of Wall to Wall Big Beat Live Rock Sound that rivals Back in Black and Nevermind — if you’re lucky enough to have a copy that sounds like this! (If you’re not then it doesn’t.)
This is a Rock Demo Disc that is very likely to lay waste to whatever rock demo disc you currently treasure. My Sharona is simply STUNNING here. You just can’t record drums and bass any better!
And let’s not forget the song Lucinda. It’s got exactly the same incredibly meaty, grungy, ballsy sound that Back in Black does, but it managed to do it in 1979, a year earlier!
Mike Chapman produced this album and clearly he is an audiophile production genius. With a pair of Number One charting, amazing sounding Pop albums back to back — Blondie’s Parallel Lines in 1978 and this album early the next year — how much better could he get? The answer is: None more better.(more…)
EMI and Simply Vinyl both released Heavy Vinyl versions of the album with little sonic success. I remember being underwhelmed by the Simply Vinyl version, the perfect example of the smeary sub-gen sound you get when a record is made from a dub tape. The EMI 180 was brighter and thinner and every bit as wrong in its own way. Choosing among them would have been difficult. The best choice: none of the above.
As is so often the case, the Heavy Vinyl Reissues are simply a disgrace.
Two words: compressed muck (like most domestic pressings, to be fair). (more…)