Tell Me About Your Mono's

[Rick-An Ordinary Fool]

I've had so much fun on the Carpenters mono thread that I thought it might be fun to read about other artists, either A&M or Non A&M artists that you have collected mono/stereo 45 pressing.

I'll start, I've been very lucky with my local record dealer, I've found many mono/stereo 45 Promo copies of some of my favorite artists. I can tell you that I've had about the same exact experience with other artists mono pressing just like the Carpenters where the lead vocal track seems much more up front in the mix & the instruments fade more into the background, the mono side is much different than the stereo side. So I know that it is not just the Carpenters pressing, but I've found these other artists had gems waiting for me to listen in mono format. Here are some of my mono's:

Olivia Newton-John: (MCA)
I Honesty Love You-Mono
Please Mr Please-Mono
Fly Away-Mono (Duet w/John Denver on RCA)

ABBA: (Atlantic)
Happy New Year-Mono
The Winner Takes It All-Mono

Art Garfunkel: (Columbia)
Second Avenue-Mono
BreakAway-Mono
I Only Have Eyes For You-Mono (This one is incredible going from Mono to Stereo, the mono is totally upfront with Art's vocal it's amazing then the stereo separation on the stereo side is just amazing, like night & day these 2 versions. I love it.

Barry Manilow: Arista)
Somewhere in the Night-Mono

Bee Gees: (RSO)
Too Much Heaven-Mono


Well these above are what I have collected thus far....the search never ends....Of course I don't need to list all my many Carpenters mono's.

So what are yours? Love to read about them if you have any to share.

 

[Rudy]

I haven't gotten into mono very much, but all the talk here and elsewhere has me starting to look at mono recordings more now than in the past.

The TJB has some unique mono mixes. The latest I got was "To Wait For Love", Herb's recording of a Burt Bacharach songs that was covered by a couple other artists. On the Bacharach box, a young Tony Orlando actually recorded the version that Herb actually copied--they're very similar. Herb's stereo and mono versions are quite different, but in subtle ways. The entire vocal track is different. I know Harry has the opposite feeling (remember, he first heard it on radio as the single version), but I prefer the stereo. To me, the mono sounds almost demo quality--he doesn't quite hit all the notes correctly, and his delivery is not as polished. The single is also longer by a noticeable amount--it fades out after an additional repeat of the last phrase.

The first TJB single of "Tijuana Taxi" and "Zorba The Greek" is very different from any album version. All mono, of course. However, both songs have a lot of added compression. Also, "Taxi" adds extra horn honks, and "Zorba" is not only edited in several places, it adds fake crowd noises to simulate a "live" recording. As with other mono versions, Larry Levine would have mixed this one, and this mix on the tunes was aimed squarely at radio and jukeboxes. It just SLAMS, IMHO.

In those days, Larry Levine would usually mix the mono TJB cuts, where Herb would mix the stereo versions. I think, too, Herb mixed the stereo twice, making one for the east coast pressing plant, and the other for the west coast.

Recently, I picked up an excellent compilation: Bewitching-Lee. This was a Capitol compilation album for Peggy Lee. The most recent remastering is on S&P records, and it includes the MONO mix of "Fever". I more recently picked up another Capitol comp that had the stereo version, and there is no comparison. They're the same take, but consider this: the mono version just NAILS it. The mono version was close-miked (the mics were close to the performers), where the stereo is a more distant recording. The mono just jumps out at you and grabs your attention...you FEEL this song. (That entire Bewitching-Lee CD by S&P, by the way, sounds terrific for its age.)

Back then, too, stereo was a new-fangled novelty, and studios were making two different versions. BUT, because songs were being mixed for radio and jukeboxes, not to mention 45 RPM singles, a lot of work went into those mono mixes, and they were mixed to grab the attention of listeners.

I don't hear as much of a difference in later mono singles as I do those from the late 50's through the late 60's. You figure that stereo was the norm at the beginning of the 70's.

 

[Dave]

'Mono' LP's I own (That I could probably also get good Stereo copies of), so far are:

Gabor Szabo Jazz Raga; or is this "Mono Reprocessed For Stereo"??

Gabor Szabo & Gary McFarland Simpatico; though I've acquired a good playing Stereo copy, recently...

Lani Hall Sun Down Lady -- Has ANYONE ever seen a non-White-Label Promo STEREO copy of this one?

Tamba 4 Samba Blim -- still happy with my Mono copy; and seems to be "mono reprocessed for stereo, anyway"; once had Mono copies of Herbie Mann's GLORY OF LOVE and JJ & K's ISRAEL, too...

Sandpipers Guantanamera -- only have for the "alternate" photo on back cover--Two girls are standing with the group; obviously Mono, as sound is NOT divided as it is on my Stereo copy...

And I once had Mono copies of the first two Sergio Mendes albums, The Sandpipers Spanish Album (which is a W/L Promo w/ STICKER on cover) and Chris Montez's Time After Time; my Watch What Happens, despite being a W/L Promo, clearly says Stereo, as does my Jeffrey Comanor LP...

And do any of my Tan-Label '45's count? Or their W/L Promo counterparts? I know the 'Mono Side' of double-sided ones would...

Dave

...discussing 'Mono Records', including A&M Mono, online...

 

[W.B.]

Although I noticed a difference in the mono mix of Redbone's "Come And Get Your Love" (Epic 5-11035, 1973) from that of the stereo. The vocals mixed differently, among others. Another difference I noticed was in Harold Melvin & The Blue Notes' "The Love I Lost"; on the opening (before the band comes in), while you just hear the Wurlitzer organ and guitar in the common stereo release, there are also strings heard besides the organ and guitar on the mono.

Then there's Simon & Garfunkel's "Bridge Over Troubled Water." On the mono mix, the cello is more pronounced and there's an emphasized percussive effect towards the end that is not evident on the stereo. And some other tracks from their BOTW album also have noticeable differences between stereo and mono mixes, to wit:
- "Baby Driver." On the mono, the song remains in the key of E-flat throughout; on the stereo, in the last remaining seconds the pitch is sped up a semitone to E.
- "Cecilia." The percussion differs somewhat on the mono at certain points, as well as the closing being different than on the stereo LP.

And on Art Garfunkel's first solo single "All I Know," while they faded out on one section and faded in to another near the end on the stereo (and the quadraphonic!), on the mono the whole performance is retained, thus while going from the big orchestral section to the piano-solo ending at one point you hear what sounds like a raggedy piano chord (the DA-da-DAA part) held for a slightly inordinate period of time before it gets into the groove.

Also, many of Three Dog Night's mono 45's had mixes considerably different from the stereo; i.e. "Joy To The World," "An Old Fashioned Love Song," "Mama Told Me (Not To Come)," "Eli's Comin'."

And on Neil Diamond's "Brother Love's Travelling Salvation Show," the mono mix has chimes heard in the background in the section that starts off with "Take my hand in yours . . . "; such chimes, to my knowledge, were not in the stereo version. That, plus a harmony duet with himself in the second verse.

And speaking of UNI artists: Elton John's first big hit "Your Song" seemed to minimize the harp and slightly maximize the strings on the mono 45 release, as compared with what I've heard in stereo.

And I also saw that The Grateful Dead's "Truckin'" seemed to have a mix unique to the 45 edit (mono, of course), as opposed to that on their American Beauty album -- or, at least, the CD issue of same.

Now . . . while The Doors' "Touch Me" was stereo, the mix on the 45 was considerably different than that on their 1969 The Soft Parade LP. But that's another story, I guess . . .

 

[Harry]

Art Garfunkel: (Columbia)
Second Avenue-Mono

To this day, the full version of that recording has not seen the light of day on CD. It would appear that a recent compilation included the song, but it was shortened by a major amount - too bad.

In fact, just last week I dug out my clean 45 of "Second Avenue" to transfer it to a CD for protection. I don't think I have a mono promo though - I believe it's a stock 45.

I must have about 15 to 20 ABBA promo singles in my collection, most with mono/stereo combinations. I'll have to give them a listen someday, though I suspect they're just fold-downs of the stereo.

In LPs, I've managed to find most of the TjB stuff. I think I've gotten all from LONELY BULL to SOUNDS LIKE. I'm still missing from NINTH forward, though I think some of those were promo-mono-only for AM radio.

I DO have the TjB's DEE JAY SAMPLER in mono. That one's fun since it uses all of the mono 45 mixes on the LP. Same with another one that I found - SOLID BRASS. The mono version of "Without Her" there is incredible as the levels on that song are evened out on the mono so as not to tax the radio station's compression so much.

Sergio Mendes has some mono treats as well, particularly on the EQUINOX album. The vocal fade on "For Me" is handled differently on the mono, and there's an edit on "Constant Rain (Chove Chuva)" on the mono LP.

There's a whole cult of Beatles fans out there who spend their days and nights searching for and comparing mono mixes of the Fab Four with their stereo counterparts - and not just plain old mono and stereo, but there are differences between UK mono and US mono, German mono and Australian mono, etc - and all of the stereo variations thereof. I used to think that once you had all the Beatles albums and CDs, there was nothing left to collect - wrong! These guys will pay upwards of $50 to $100 for clean UK mono albums. And they're into stamper numbers as well, since earlier pressings allegedly sound better than later pressings. Some stuff we're just better off not knowing!

As Rudy said, the best chances of variations between mono and stereo seem to lie in the '50s and '60s material, mostly '60s, since that's when stereo came into its own. By the '70s, most mono material was promo only, making it a bit tougher to find nowadays.

Harry
...mono a mono , online...

 

[Rudy]

I'm wondering if most 70s mono cuts were fold-downs. Very well could be, since it was a format in the minority by then.

 

[W.B.]

I'm wondering if most 70s mono cuts were fold-downs. Very well could be, since it was a format in the minority by then.

Most. The examples I cited, such as "The Love I Lost," "Bridge Over Troubled Water," "Cecilia," and "Come And Get Your Love," were the rare exceptions to the rule.

 

[Captain Bacardi]

I'm wondering if most 70s mono cuts were fold-downs. Very well could be, since it was a format in the minority by then.

That could very well be. I have a copy of the TJB's You Smile - The Song Begins that has a sticker on the cover saying "For AM play only". But I haven't noticed any real difference in sound.


Capt. Bacardi

 

[andywithaz]

I'll List the Carpenters ones first and then the others.

Solitaire
There's A Kind of Hush
Hurting Each Other
I Won't Last a Day Without You
I Believe You
Sing
Beechwood 45789
Those Good Old Dreams- test pressing
Please Mr. Postman
Sweet, Sweet Smile
Touch Me When We're Dancing
Yesterday Once More

Other Artists

Doris Day- My Romance and Little Girl Blue (Columbia)

Andrew Jacks- Waterloo (Promenade)

Jim Everett- I Got Stripes (Promenade)

Dottie Gray- Till There Was You (Promenade)

Glitters- There Goes My Baby (Promenade)

Richard Deane- Sea of Love (Promenade)

Dick Stetson- 40 Miles of Bad Road (Promenade)

Lotte Lenya, Jack Glifford- Married (Columbia)


Lotte Lenya, Jack Glifford- It Couldn't Please Me More
(Columbia)

and I will add to this when I have more time. Everything else that is not Carpenters came from a local radio station that my mother used to work at.

 

[Rudy]

That could very well be. I have a copy of the TJB's You Smile - The Song Begins that has a sticker on the cover saying "For AM play only". But I haven't noticed any real difference in sound.

That album in stereo is nearly mono to begin with--very little stereo separation. One thing is bugging me: I have a promo copy of that LP, and the label actually says mono on one side and stereo on the other. I know it's probably a misprint, but still, it leaves me wondering if it really is stereo or mono. I do detect a little "difference" information when I run it through an older analog surround processor, but I'm still not sure. If I find a standard copy locally, I'll have to pick it up.

 

[Harry]

The separation factor seems to vary from track to track and even sections within tracks. I just gave a closer listen with headphones to a few selected tracks. If you listen to "Up Cherry Street", you get some strange effects. The opening piano is clearly centered like it was mono, and just before the trumpet part starts you can hear it pan to the right.

The opening track "Fox Hunt" has a good deal of stereo information with the percussive cymbal track on the right channel and Julius' marimba on the left (sort of backwards from the old TjB alignment). The second track, "Legend Of The One-Eyed Sailor" seems quite mired in the middle with very little separation until the track gets to the loud part where more separation is evident.

I also did a quick compare of a CRC version of the album to a standard A&M. The A&M, as predicted sounded 'wider' than the CRC version.

Other tracks like "Save The Sunlight" and "Promises Promises" have fair amounts of stereo information, but it's also true that this album doesn't feature the more separated stereo of the earlier TjB albums.

Harry
...comparing albums, online...

 

[Rick-An Ordinary Fool]

There's a whole cult of Beatles fans out there who spend their days and nights searching for and comparing mono mixes of the Fab Four with their stereo counterparts - and not just plain old mono and stereo, but there are differences between UK mono and US mono, German mono and Australian mono, etc -

I almost forgot I do have 1 Mono 45 of the Beatles:

Interesting that on this 45 BOTH sides are Mono

Penny Lane-Mono flip side is
Strawberry Fields Forever also Mono

 

[Rick-An Ordinary Fool]

Then there's Simon & Garfunkel's "Bridge Over Troubled Water." On the mono mix, the cello is more pronounced and there's an emphasized percussive effect towards the end that is not evident on the stereo. And some other tracks from their BOTW album also have noticeable differences between stereo and mono mixes, to wit:
- "Baby Driver." On the mono, the song remains in the key of E-flat throughout; on the stereo, in the last remaining seconds the pitch is sped up a semitone to E.
- "Cecilia." The percussion differs somewhat on the mono at certain points, as well as the closing being different than on the stereo LP.

And on Art Garfunkel's first solo single "All I Know," while they faded out on one section and faded in to another near the end on the stereo (and the quadraphonic!), on the mono the whole performance is retained, thus while going from the big orchestral section to the piano-solo ending at one point you hear what sounds like a raggedy piano chord (the DA-da-DAA part) held for a slightly inordinate period of time before it gets into the groove.. .

W.B.
I have 4 white label Columbia 45's of Simon/Garfunkel, all 3 are white label w red lettering, all say Radio Station Copy not for sale, some say special rush service, I looked at the dead wax but can see any mono word & none of them say on the label if there stereo or mono., Everything does seem centered on these with my headphones on. Here they are:

Baby Driver/Same
Homeward Bound/Leaves that are Green
Flowers Never Bend with the Rainfall/I Am A Rock
Fakin It/You Don't Know Where your Interest Lies
The Dangling Conversation/Same

I also can't find a year at all on any of these. They all sound amazing. Just wondered if these could be mono versions. Some of these were there really early songs, right?

Edited above

 

[W.B.]

W.B.
I have 4 white label Columbia 45's of Simon/Garfunkel, all 3 are white label w red lettering, all say Radio Station Copy not for sale, some say special rush service, I looked at the dead wax but can see any mono word & none of them say on the label if there stereo or mono., Everything does seem centered on these with my headphones on. Here they are:

Baby Driver/Same
Homeward Bound/Leaves that are Green
Flowers Never Bend with the Rainfall/I Am A Rock
Fakin It/You Don't Know Where your Interest Lies
The Dangling Conversation/Same

I also can't find a year at all on any of these. They all sound amazing. Just wondered if these could be mono versions. Some of these were there really early songs, right?

All mono sides of that period had a white label with red print on the promos. The matrix prefix Columbia used for mono was "ZSP," as opposed to "ZSS" for stereo - promo sides of which were on an aqua blue background label, with "STEREO" all around the bottom side over the title, composer and producer. Hope this explains it.

As for the years: "Baby Driver" was from 1969; "Homeward Bound," "I Am A Rock" and "The Dangling Conversation" were all from 1966; and "Fakin' It" was from 1967. (And the "2:74" time shown for "Fakin' It" was a deliberate attempt to confuse us all, not a typo. If you think of it, 2:74 is the same as 3:14 . . . ) Remember, it was only after 1972 in the U.S. that any year reference was shown on the label.

 

[Rick-An Ordinary Fool]

All mono sides of that period had a white label with red print on the promos. The matrix prefix Columbia used for mono was "ZSP,"

Excellent, thanks W.B.

Your right I just checked all the dead wax on these, they all start with Prefix-ZSP

Glad that I understand what that prefix stands for now. Thanks again for confirmation.

 

[Rudy]

I almost forgot I do have 1 Mono 45 of the Beatles:

Interesting that on this 45 BOTH sides are Mono

Penny Lane-Mono flip side is
Strawberry Fields Forever also Mono

That's quite normal for that era, actually. My copy of that single (with the Capitol orange/yellow "swirl" label) is also mono on both sides.

Slightly off topic, but someone once posted an MP3 file of a Parlophone 45RPM single from the UK of "Please Please Me". Mono, of course, but it was noticeable that the mix and mastering were very bright, punchy and tight--the best version of that song I've ever heard. This single always sells for a pretty penny on eBay. I only wish those grating 80's CDs of the Beatles sounded anywhere near that good.

 

[Mr Bill]

The separation factor seems to vary from track to track... but it's also true that this album doesn't feature the more separated stereo of the earlier TjB albums.

Harry

I think one of the best cuts, stereo-wise is "Dida" -- especially the marimba/organ/steel drum part in the middle. With headphones it's "very 70s" sounding...

--Mr Bill

 

[Rick-An Ordinary Fool]

I forgot that I also had 2 more Abba Mono/Stereo 45's

SOS Mono/Stereo

Waterloo-Mono/Stereo

On the Waterloo there is a noticable difference, the stereo side has that annoying clapping sound during most of the chorus, it starts in at first right after she sings, Waterloo for the first time into the chorus. This clapping (or something that sounds much like that) is very prominant on the stereo side 45, I then compared the same song on the Abba Gold CD, it is still evident on that too but not quite as loud sounding. However on the mono, it is not there at all, if it is then it's very faint, thus leaving the mono with a more clean sound. Pretty cool to hear this.

...discovering more mono's, online..

 

[Rudy]

The separation factor seems to vary from track to track and even sections within tracks. I just gave a closer listen with headphones to a few selected tracks. If you listen to "Up Cherry Street", you get some strange effects. The opening piano is clearly centered like it was mono, and just before the trumpet part starts you can hear it pan to the right.

The opening track "Fox Hunt" has a good deal of stereo information with the percussive cymbal track on the right channel and Julius' marimba on the left (sort of backwards from the old TjB alignment). The second track, "Legend Of The One-Eyed Sailor" seems quite mired in the middle with very little separation until the track gets to the loud part where more separation is evident.

I also did a quick compare of a CRC version of the album to a standard A&M. The A&M, as predicted sounded 'wider' than the CRC version.

Other tracks like "Save The Sunlight" and "Promises Promises" have fair amounts of stereo information, but it's also true that this album doesn't feature the more separated stereo of the earlier TjB albums.

Harry
...comparing albums, online...

OK, I'm thinking that I may have a mono version then. I hear little or no separation throughout the album. I haven't listened with the headphones yet, but another way is to kick my surround processor into a mode where it will ONLY work if there is a "difference" signal. In other words, a mono signal would create no output at all on the rear channels.

A shame--I've got a nice clean promo copy and, with the label saying mono on one side and stereo on the other, I'm starting to think it's all mono.

I do have a CD-R of a different copy however, so I can compare that one.

 

[Rudy]

I don't have a lot of singles, but most of mine are from the late 50's through early 70's. My most recent acquisition is a 45RPM EP containing four songs from Peter Gunn. I grew up with a mono copy of the album, and still have it, but I also have the LiViNg StErEo copy on vinyl, as well as the US CD reissue from the late 80's. This EP of course is mono, and while the mix is identical to the mono LP, the bass is rolled off. Most likely to fit the extended playing time on the disc. One complaint about the stereo Peter Gunn album was that there was a lot of reverb. My guess is that they could have recorded this two ways: 1) the stereo could have been run through a reverb chamber or, 2) they used a separate microphone setup running to a separate 3-track recorder.

 

[daveK]

In regards to the mention of the mono version of Peggy Lee's "Fever" above, I'm in complete agreement. The mono version sounds so much better that there is no comparison. I'm really happy that I've been able to find some of my favorite 60s tunes in mono on CD, thanks to reissue labels like Rhino and Sundazed. I can't bear to listen to Sonny & Cher's "The Beat Goes On" or Mitch Ryder's "Breakout" in stereo anymore. The mono versions sound too incredible. The stereo is too wide and the songs lose their punch. I'm glad that some Rascals and Mamas & Papas discs have mono versions as well. I prefer mono on practically all Motown and Stax stuff too. I really want the mono version of "Everything That Touches You" by The Association but so far, it's only available on that really expensive Japanese import of "Birthday". I was really annoyed that when Collector's Choice released their Association remasters, they didn't include the bonus track mono single versions. I don't always prefer mono though. I have both stereo and mono CDs by The Royal Guardsmen and The Raiders and prefer the stereo on both as the mono mixes are too muddy sounding.
One more note on Rhino. Why did they release their Aretha Franklin Atlantic remasters in mono with stereo bonus tracks of the singles? Shouldn't it have been the other way around?
If I could have the mono mix of any single on CD though, my choice would clearly be "Zorba The Greek"/"Tijuana Taxi".

 

[Rick-An Ordinary Fool]

Thus far this is a really interesting topic thread.

So why do you think people search out for mono pressings, do you think people are tired of the digital stereo fomat & want something different?

 

[daveK]

I can't speak for the mono record collectors, but speaking for myself, in regards to mono on CDs, a lot of times I just like to hear my "oldies" the way they were heard on AM radio and on the 45s.
An earlier post talks about the Three Dog Night tracks and it's a good example. I grew up in the 70s and always heard these songs on the radio: "An Old Fashioned Love Song", "Family Of Man", "Joy To The World". The "Best Of" LPs and CDs that came out in the 70s and 80s didn't sound right to me, because they had the stereo LP mixes of the songs. Some of the Three Dog Night singles were radically different mixes from their LP counterparts. It wasn't until the double disc "Celebrate" anthology came out that I finally got to hear these songs on CD the way that I remembered them from my childhood.

 

[Rudy]

So why do you think people search out for mono pressings, do you think people are tired of the digital stereo fomat & want something different?

Like a couple others here mentioned, the mono versions are what they grew up listening to on 45s and on radio. Today's radio does everything digitally, so they're pulling tracks from stereo CDs to add to their playlists...so even "oldies" radio today isn't true to what many people grew up with.

While I grew up with mono albums in the house, I have no huge desire to listen to them that often. But as for the singles, I think they make an excellent source for a compilation.

 

[Rick-An Ordinary Fool]

Well I hit my local record dealer again this weekend. Someone help me, I'm addicted to vinyl.

I think I have wiped this guy out of all Carpenters Promo's So no luck here today.

Here is my latest Mono Promo's:

The Captain & Tennille-A & M
Love Will Keep Us Together-Stereo/Mono 1975

On the label with there name under Tennille it says (Tin-e'el) I thought that was interesting, the record companies must have wanted to make sure the DJ's spelled there name correctly, right? On the mono side, I was really suprised with how her vocal is really upfront & really strong, the piano by the Captain is pushed further into the background, quite different than the stereo where the piano really is showcased along side her vocals more evenly. I always loved this song, a real toe tapper for me this one is.

Genesis Atlantic
Follow You Follow Me-Stereo/Mono 1978

Not sure why I really picked this one up as I have nothing in my collection by either Phil or Genesis but I do like this song. The mono side seems a bit out of phase but the stereo side is nice, clean 45.


Abba Atlantic
Fernando-Stereo/Mono 1976

Not one of my fav songs from Abba but I had to get it since I'm an Abba collector.

Bee Gees-RSO
Nights On Broadway-Stereo/Mono 1975 (Short Version both sides) 2:52

A big difference on the mono side with this 45. The vocals are more centered & upfront in the mix, the piano by Maurice is very centered along with all the other instruments, however the stereo side you can immediatly tell the difference with the piano on the left & right side. They have such amazing harmony.

My last find was worth my visit today & the 3 hours I spent going through boxes,

Paul Simon-Columbia
American Tune-Stereo/Mono 1973

Since I saw Simon & Garfunkel live in concert Dec 2003, I heard this track for the first time at that concert. I'm not a Simon solo collector but this 45 is I believe from Simon's solo career, (correct me if I'm wrong) anyway, this 45 came with a cool red color sleeve with the picture of a flag in red. The words to the whole song are printed on the reverse side of the sleeve, so I can sing along... The words are so telling of the American life with references to The Statue of Liberty, We come on the ship they call the Mayflower and sing an American tune. When I saw them in concert, instead of Paul singing the song, Art Garfunkel in fact sang the entire song with Paul banking up on guitar. It was a very moving experience to say the least at the concert, the whole audience was in awe very quite & the words were incredible to hear in a full large inside arena. Art had also mentioned at the concert that he had wished that he & paul had recorded this together. So that is what makes me think this was from Paul's solo. This one was the most expensive 45 I bought today, costing me $8.00, but the clarity to this 45 is just amazing.

...who is out of control with vinyl at the moment, online....