Side one earned a Double Plus (A++) grade and side two was even better, nearly Triple Plus (A++ to A+++)!
This copy has some of the tubiest, richest, yet clearest Moody Blues sound we’ve heard
Huge and spacious with strong midrange presence – this is the way the band should sound, alive and kickin’!
Includes the big hit Question, one of the all time greats by the band, which sounds fantastic here of course
Note that the sound on side one seems to get better as it goes, a phenomenon we have noticed often in the past.
What to Listen for
Achieving just the right balance of “Moody Blues Sound” and transparency is no mean feat. You have to be using the real master tape for starters. Then you need top end extension, a very rare quality on these imports, and finally, good bass definition to keep the bottom end from blurring and bleeding into the midrange. No domestic copy in our experience has ever had these three qualities, and only the best of the British imports (no Dutch, German or Japanese need apply) manages to get all three on the same LP.(more…)
TWO EXCELLENT SIDES on this British Sunray Island pressing. SSTTA is very hard to find nowadays, but we managed to put together a big enough stack to make a shootout possible, and this copy acquited very well indeed — it was miles ahead of the typical pressing. As is usually the case with these originals, the vinyl is a bit noisier than ideal at Mint Minus Minus.
No doubt this is the best album Robert Palmer ever made. With Lowell George’s unmistakable slide guitar and members of the Meters providing backup, as well as the amazing Bernard Purdie on drums, it’s the only Robert Palmer release that consistently works all the way through as an album. The entire first side is excellent from top to bottom, with the title track being our favorite RP song of all time. (more…)
What makes this an especially good Peter and the Wolf? The timbre of the solo instruments — bassoon, oboe, flute — each of which serves to represent a character in the story. Shockingly lifelike, the tonality is unerringly Right On The Money (ROTM) throughout. That makes this pressing both a superb Demo Disc as well as a top quality Audio Test Disc. (more…)
Excellent Double Plus (A++) sound for both sides of this wonderful Living Stereo album – as you would expect, the Tubey Magic is off the charts
Both sides are big, lively and present with lovely breathy vocals from the two principals (who sing solo on all but two of the tracks)
A brilliant Living Stereo recording from 1959, which plays as quietly as we can find them – Mint Minus to Mint Minus Minus
“The first of Belafonte’s duet albums with female performers, this one paired two attractive black American singers at the peak of their respective talents.”
A Living Stereo knockout! We often forget to spend time with records like this when there are Zeppelin and Floyd records to play. We’ve always enjoyed Belafonte At Carnegie Hall, but when we’ve dug further into his catalog we’ve been left cold more often than not. However, when we finally got around to dropping the needle on a few of these we were very impressed by the music and BLOWN AWAY by the sound on the better pressings.
It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording Technology. If you’re a Harry Belafonte fan, a Lena Horne fan, a Gershwin fan, or just somebody who enjoys classic material performed with gusto and soul, this is a record that belongs in your collection.
Wow, the first nice Reiner Sound on Shaded Dog to make it to our site. Why? Because the few copies we’ve run across that looked decent enough to clean and play were just too noisy to enjoy. Not many copies have survived the bad turntables of their day with all their top end and inner grooves intact, but we’re proud to say that this one has!
This former TAS List record really surprised us on two counts. First, you will not believe how DYNAMIC the recording is. Of all the classical recordings we’ve played lately I would have to say this is THE MOST DYNAMIC of them all.(more…)
A stunning copy of The Dock of the Bay — Triple Plus (A+++) on the first side and Double Plus (A++) on the second
A well-recorded album, with sound that’s incredibly big, rich and Tubey Magical yet still clean, clear and spacious
About as quiet as we can find them, Mint Minus to Mint Minus Minus throughout – most copies we see are just wrecked
“…this is an impossible record not to love … Cropper chose his tracks well, selecting some of the strongest and most unusual among the late singer’s orphaned songs…” — All Music
This vintage Atco pressing has the kind of Tubey Magical Midrange that modern records cannot even begin to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.(more…)
Can’t recommend this one. It’s too bright. The DCC LP of Orbison’s material is dramatically better [assuming you want a Heavy Vinyl pressing. I doubt I would care for the sound of it now but back in the day we recommended it].
I’ve had some discussions with some audiophiles who liked this album, and I’m frankly surprised that people find this kind of sound pleasing, but if you’re one of those people who likes bright records, this should do the trick!
This is a classic case of a record that really starts to work when the levels are up. It’s so free from distortion and phony processing it wants to be played loud, and that’s the level this music works at. It’s the level it was no doubt mixed at, and that mix sounds pretty flat at moderate levels. If you want to hear the real rockin’ Bonnie Raitt you gots to turn it up!
Like a lot of the best recordings from the mid-’70s, the production and recording quality are clean and clear, and we mean that in a good way. There is very little processing to the sound of anything here; drums sound like drums, guitars like guitars, and Bonnie sings without the aid of autotuning — because she can sing on-key, and beautifully. Her vocals kill on every song. (Her dad had a pretty good set of pipes too.)(more…)
This impressive Double Plus (A++) copy is ROCKIN’ with Sound City Classic Rock energy like you will not believe
Credit engineer Keith Olsen, the man behind the Buckingham Nicks album and the even-more-amazing Fleetwood Mac self-titled release
All kinds of big hits can be found on this one, including Benatar classics such as Treat Me Right, You Better Run and Hit Me With Your Best Shot
“Benatar avoids the synth-happy trends of the early ’80s and delivers a hard rocking ten-song session of power pop tempered with a few ballads for balance.”
Credit for the sound must go to the brilliant engineer Keith Olsen, the man behind the amazing sounding Fleetwood Mac self-titled release from 1975. Is there a better sounding Fleetwood Mac album? I certainly can’t think of one.
The man knows Big Rock sound as well as anyone in the business. The two recordings mentioned above and our Crimes of Passion here have too much in common for it to be a mere coincidence. All three have tons of bass (which is the sine qua non of live rock music), huge size and scope, richness, Tubey Magic, a smooth top and last but not least, hard-rockin’ energy.(more…)