- A Shootout Winning copy with Triple Plus (A+++) sound on both sides – this bad boy is a HUGE step up from anything Perez Prado record you have ever heard, guaranteed
- With Tubey Magical Stereoscopic presentation like you will not believe; this copy is spacious, sweet and positively dripping with ambience
- The driving, syncopated, heavily percussive arrangements add immensely to the fun, with the timbre of every scratcher and drum rendered in glorious Technicolor sound
- This is Vintage All Tube Analog at its best – the magic hidden in the grooves of the record really comes through on this pressing
This SUPERB sounding copy of Prez has a lot in common with the other Living Stereo / Exotica titles we’ve listed over the years, albums by the likes of Henry Mancini, Esquivel, Arthur Lyman, Dick Schory, Edmundo Ros, Ted Heath, Martin Denny and a handful of others. Talk about making your speakers disappear, these records will do it!
An album like this is all about Tubey Magical Stereoscopic presentation. And of course the driving, syncopated, heavily percussive arrangements add immensely to the fun, with the timbre of every scratcher and drum rendered in glorious Technicolor sound. (If only Airto had been around in the ’50s!)
For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good 1958 All Tube Analog sound can be, this killer copy may be just the record for you!
This copy is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
If you like the sound of percussion instruments of every possible flavor, including some you have never tasted before, you will have a hard time finding a more magical recording of them than this.
Glorious Living Stereo Sound
What a record: big and spacious, yet clear, dynamic and energetic. The brass is never “blary” the way it can be on so many Big Band or Dance Band records from the ’50s and ’60s. (Basie’s Roulette records tend to have a bad case of blary brass as a rule.)
Sharp transients and correct tonality and timbres, powerful brass — it’s all here.
Play tracks one and two to hear side two at its best. Track two has crazy wild trombones you have to hear to believe. Very James Bond (well before there was a soundtrack for 007’s exploits).
This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There actually IS a CD of this album, and youtube videos of it too, but those of us in possession of a working turntable could care less.
Truly a Spectacular Demo Disc in its own right.
What to Listen For (WTLF)
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most pressings from the late ’50s and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich. (Full sound is especially critical to the horns; any blare, leanness or squawk ruins much of the fun, certainly, at the loud levels the record should be playing at.)
Which brings up a point that needs making. The tonality of this record is correct when it is playing loud. The trumpets do not get harsh at loud volumes the way they will on, say, a Chicago record. The timbre of the instruments is correct when loud, which means that it was mixed loud to sound correct when loud.
The frequency extremes (on the best copies) are not boosted in any way. When you play this record quietly, the bottom and top will disappear (due to the way the ear handles quieter sounds as described by the Fletcher-Munson curve).
Most records (like most audiophile stereos) are designed to sound correct at moderate levels. Not this album. It wants you to turn it up. Then, and only then, will everything sound completely right from top to bottom.
La Borrachita (I’ll Never Love Again)
Adios Mi Chaparrita (Goodbye My Little Angel)
Lullaby of Birdland
Flight of the Bumblebee
Come Back to Sorrento (Torna a Sorrento)
In “Perez” two sides of the fabulous “King of the Mambo” are presented. One features Prado interpreting Latin rhythms as only he and his musical aggregation can. The other side of Prado is not as familiarly known but is sure to be equally appreciated, for it reveals that Perez Prado is a jazz impresario of the first order. – from the back cover
All Music Guide Artist Biography
by Steve Huey
Universally known as the King of the Mambo, Pérez Prado was the single most important musician involved in the hugely popular Latin dance craze.
Whether he actually created the rhythm is somewhat disputed, but it’s abundantly clear that Prado developed it into a bright, swinging style with massive appeal for dancers of all backgrounds and classes. Prado’s mambo was filled with piercing high-register trumpets, undulating saxophone counterpoint, atmospheric organ (later on), and harmonic ideas borrowed from jazz.
While his tight percussion arrangements allowed for little improvisation, they were dense and sharply focused, keeping the underlying syncopations easy for dancers to follow. Prado played the piano, but was often more in his element as the focal point of the audience’s excitement; he leaped, kicked, danced, shouted, grunted, and exhorted his musicians with a dynamic stage presence that put many more sedate conductors and bandleaders to shame.
With this blueprint, Prado brought mambo all the way into the pop mainstream, inspiring countless imitators and scoring two number one singles on the pop charts (albeit in a smoother vein than the fare that first made his name) as the fad snowballed. He was a star throughout most of the Western Hemisphere during the ’50s, and even after his popularity waned in the United States, he remained a widely respected figure in many Latin countries, especially his adopted home of Mexico.
Prado is often best remembered for his softer, more commercial work, which has an undeniable kitschiness that plays well with modern-day lounge-revival hipsters. Unfortunately, that has served to obscure his very real credentials in the realm of authentic, unadulterated Latin dance music, and to this day he remains somewhat underappreciated.
It’s clear to us that our stereo system loves this record. Let’s talk about why we think that is.
Our system is fast, accurate and uncolored. We like to think of our speakers as the audiophile equivalent of studio monitors, showing us to the best of their ability exactly what is on the record, no more and no less.
When we play a modern record, it should sound modern. When we play a vintage Tubey Magical Living Stereo pressing such as this, we want to hear all the Tubey Magic, but we don’t want to hear more Tubey Magic than what is actually on the record. We don’t want to do what some audiophiles like to do, which is to make all their records sound the way they like all their records to sound.
They do that by having their system add in all their favorite colorations. We call that “My-Fi”, not “Hi-Fi”, and we’re having none of it.
If our system were more colored, or slower, or tubier, this record would not sound as good as it does. It’s already got plenty of richness, warmth, sweetness and Tubey Magic.
To take an obvious example, playing the average dry and grainy Joe Walsh record on our system is a fairly unpleasant experience. Some added warmth and richness, with maybe some upper-midrange suckout thrown in for good measure, would make it much more enjoyable. But then how would we know which Joe Walsh pressings aren’t too dry and grainy for our customers to enjoy?
We discussed some of these issues in another commentary:
We have put literally thousands of hours into our system and room in order to extract the maximum amount of information, musical and otherwise, from the records we play, or as close to the maximum as we can manage. Ours is as big and open as any system in an 18 by 20 by 8 room I’ve ever heard.
It’s also as free from colorations of any kind as we can possibly make it. We want to hear the record in its naked form; not the way we want it to sound, but the way it actually does sound. That way, when you get it home and play it yourself, it should sound very much like we described it.
If too much of the sound we hear is what our stereo is doing, not what the record is doing, how can we know what it will sound like on your system? We try to be as truthful and as critical as we can when describing the records we sell. Too much coloration in the system makes those tasks much more difficult, if not a practical impossibility.
We think this copy has a near-perfect blend of Tubey Magic and clarity, because that’s what we hear when we play it on our system.
We are convinced that the more time and energy you’ve put into your stereo over the years, decades even, the more likely it is that you will hear this wonderful record sound the way we heard it. And that will make it one helluva Demo Disc in your home too.