Vintage covers for this album are hard to find in exceptionally clean shape. Most of the will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG.

Credit must obviously go to the man behind the console, Shelly Yakus, someone who we freely admit, now with a sense of embarrassment, has never been one of our favorite engineers. After hearing a White Hot Stamper pressing of Damn the Torpedoes and a killer copy of Animal Notes, we realize that we have been seriously underestimating the man.

If your Damn the Torpedoes doesn't sound good (and it probably doesn't), you sure can't blame him -- the master tape is mind-boggling in its size, weight, power and sheer rock n' roll energy.

What The Best Sides Of Damn The Torpedoes 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.

One Tough Album (To Find and To Play)

Not only is it hard to find great copies of this album, . 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.

A Hot Stamper copy from way back in 2014 had the kind of sound we never expected to hear on Damn The Torpedoes, an album that's typically bright, thin, pinched and transistory -- radio friendly but not especially audiophile friendly.

Well folks, all that's changed, and by "all" I don't necessarily mean all to include the records themselves. This may very well be a record that sounded gritty and pinched before it was cleaned. And our stereo has come a long way in the last five or ten years, as I hope yours has too.

One sign that you're making progress in this hobby is that at least some of the records you've played recently, records that had never sounded especially good before, may now be sounding very good indeed. In our case, Damn the Torpedoes is one of those records. It's the best sounding Tom Petty album we have ever played.

What We're Listening For On Damn The Torpedoes

• 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.

Good News for Petty Fans

His first two albums are also classics, IMHO, and we've done Hot Stamper shootouts for both. You're Gonna Get It, his second release, is my personal favorite. After Damn I kind of gave up on him as an album artist: a few tracks here and there sparkle but mostly what I hear is variations of his earlier and better material, with brighter and brighter, thinner and thinner 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 other 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 recordings.

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.