Rascals - People Got To Be Free

A big hit from 1968.

Mono (2:59)

The 45 was in mono.

The mono version turned up on a Rhino multi-artist collection called Songs Of Protest (1991), an obscure disc on CEMA Special Markets called Magic Moments Of The '60s (I don't have this), Rhino Hand Made's All I Really Need The Atlantic Recordings 1965-1971 (2001), and Real Gone Music's The Complete Singles A's & B's (2017).

Overall, the Rhino, Rhino Hand Made, and Real Gone discs all sound very similar. I noticed that the Real Gone disc tames some very low-frequency thumps that appear on the Rhino Hand Made (there's one at 2:29; there may be others). For that reason alone, I'll recommend the Real Gone collection; clearly, a lot of care went into mastering this set, and I'm sure there are other subtle mastering improvements on the rest of the tracks as well.

Stereo (2:58)

I found five different analog transfers for the stereo version.

The first is for the original pressing of Warner Special Products' The Ultimate Rascals (1986). Sound quality is good, overall, but the left and right channels are out of synch by about one sample. The same analog transfer is used on:

• Warner Special Products' More Party Classics (1987)
• Atlantic's Hit Singles 1958-1977 (1988)
• Time-Life's Classic Rock Vol. 11 1968 The Beat Goes On (1989) - tail of fade is about four beats shorter

The second is for Sessions/Warner Special Products' 2-CD Rock Revival (1991). The tail of the fade is about three beats shorter than The Ultimate Rascals. I consider this mastering to be an outlier.

The third is for the RE-1 reissue of Warner Special Products' The Ultimate Rascals (copyright 1986, actual release date unknown). The left and right channels are synched well. The tail of the fade runs out to the same length as the original pressing. The same analog transfer is used on:

• Rhino's promo sampler Rhino Atlantic Remasters Collection CD Sampler (1992, PRO2 90127)
• Time-Life's Superhits Vol. 18 Late '60s Classics (1992)
• Time-Life's AM Gold Vol. 12 Late '60s Classics (1995) - the whole disc is identical to Superhits but with different packaging
• Time-Life's AM Gold Good Lovin' (2021)

The fourth is for Rhino's 2-CD Rascals collection Anthology 1965-1972 (1992). The left and right channels are synched well. The tail of the fade runs out to the same length as The Ultimate Rascals. The same analog transfer is used on:

• Rhino's Billboard Top Rock 'N' Roll Hits 1968 (1993; RE-1 reissue only; this track replaces "Love Child" from the 1988 original release)
• Rhino's single-disc Rascals collection Very Best Of (1993) - tail of fade is about one beat shorter
• Rhino's Let There Be Drums Vol. 2 The '60s (1994)
• Rhino's promo Rock The Dome (1994, PRCD 7101)
• Time-Life's 2-CD Get Together (1994; R921-38; OPCD-4549) - tail of fade is about a half a beat shorter
• Time-Life's 2-CD Flower Power Groovin' (2007) - tail of fade is about a half a beat shorter

The fifth is for Rhino Hand Made's All I Really Need The Atlantic Recordings 1965-1971 (2001). The left and right channels are out of synch by about one sample. The tail of the fade about a half a beat shorter than The Ultimate Rascals. Compared to the earlier masterings, the EQ is very midrange/top-heavy, giving the whole track an unpleasant glare.

Realistically, there's not much difference in sound quality between the reissue Ultimate, and the Rhino Anthology masterings. Both have excellent dynamic range with no clipping, nice EQ, no evidence of added noise reduction, and seem to be from reasonably low-generation source tapes. Both have a tiny treble boost compared to the original Ultimate, but it's fairly subtle for this track. You'll be pleased with either of them, but if I had to pick, I'd choose the RE-1 reissue of Ultimate.

My recommendations

For mono, go with Real Gone Music's The Complete Singles A's & B's (2017).

For stereo, go with the RE-1 reissue of Warner Special Products' The Ultimate Rascals (copyright 1986, actual release date unknown).