*NOTE: There is a mark that plays 20 times lightly about 1/8" into track 4 on side 1, "Darling Companion."

We had a blast listening to this album. Cash's banter between the songs is practically as good as the music itself!

This 60s LP has the kind of Tubey Magical Midrange that modern pressings rarely begin to reproduce. Folks, that sound is gone and it sure isn't showing any sign of coming back.

Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much in the details in the recording, but rather in trying to recreate a solid, palpable, real Johnny Cash singing live in your listening room. The better copies have an uncanny way of doing just that.

If you exclusively play modern repressings of older recordings (this one is now 56 years old), 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 less than one out of 100 new records do, if our experience with the hundreds we've played can serve as a guide.

What The Best Sides Of Johnny Cash At San Quentin 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
• 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 We're Listening For On Johnny Cash At San Quentin

• 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 have 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.

Watch Out For

Johnny Cash At San Quentin may not be the world's greatest recording (San Quentin will probably never be mistaken for Olympic Studios), but on our better Hot Stamper copies, the sound can actually be surprisingly good. Above all, the better copies will sound real, making you think you are actually sitting in the audience with some of Johnny's biggest fans (who, like him, have a criminal record they would prefer not to think about).

The biggest problem with the sound of Johnny Cash At San Quentin that we encounter in our shootouts is grain. If you've got a copy lying around, throw it on and listen closely to the vocals. Odds are that you'll hear more grain than texture, and that's not the most pleasing way to hear this music.

Other big issues were lack of energy, an overall dark quality, thickness, and congestion. We had to clean and play a pile of copies to find those that were both smooth and involving. At the end of the shootout, it's always a joy to hear how correct and musically involving the best pressings can sound.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful originals.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.

A Must Own Record

We consider this album Cash's . It's a recording that belongs in any serious popular music collection.

Others that belong in that category can be found .

One Tough Album (To Find and To Play)

Not only is it hard to find great copies of this album, either. You're going to need a hi-res, super low distortion front end with careful adjustment of your arm in every area -- VTA, tracking weight, azimuth and anti-skate -- in order to play this album properly. If you've got the goods you're gonna love the way this copy sounds. Play it with a budget cart / table / arm and you're likely to hear a great deal less magic than we did.