On some of the copies we played richness and warmth seemed to have been sacrificed for the sake of greater clarity. That’s never been our sound, one of the reasons we do relatively few albums from the ’80s, and we noticed that on the copies with that tonal balance it was much more difficult to become involved in the music.
The richer, warmer, smoother, more balanced copies presented no such problem. Their sound transported us into the world of music Winwood had created in these songs.
If you clean and play enough copies you too might get lucky and find a copy that sounds as good as this one, where the obvious analog qualities are much more pronounced, and neither clarity or space is compromised.
Of course you might. We say it all over the site: it ain’t a magic trick to find a copy of Back In The High Life that sounds as good as this one does. All you need is a reliable source for large numbers of British pressings, the right cleaning techniques, and the time to painstakingly shoot out your copies one by one. We recommend scheduling the better part of a day. It’s how we found this outstanding pressing, and it’s how we found every other title you see on our site.
We find great sounding records like this every day, and we do it the only way it can be done, the old fashioned way: by working at it.
Brit Vs Domestic
It’s no contest. The British early pressings are the only way to go. The domestic pressings are clearly made from dubs and sound dull, smeary and small.
