The soundstage is absolutely HUGE, while the presence and transparency of this copy go way beyond most pressings. Great rock and roll energy too of course — without that you have nothing on this album.
Note how spacious, big, full-bodied and DYNAMIC side one is. That’s why it’s White Hot. I am pleased to report that the whomp factor on this side was nothing short of MASSIVE. With tons of bass this side has what it takes to make the music ROCK.
One of the most surprising things we learned in our first big shootout from 2014 was how well recorded the album is. It’s yet another triumph from one of our favorite engineers, Ken Scott.
In many ways it sounds like the first Zep album, and that’s a good thing. The sound is a perfect fit for the music. In recent interviews Jeff Beck has been saying that Jimmy Page stole his idea for a Heavy Rock Band playing electrified blues. Based on the evidence found on the two sides of this very album I would say he has a point.
There is some edge on Sinatra’s voice on every side of every copy; it’s so common it’s got to be on the tape. Those copies with less edge and grit on the vocals which are not overly smooth or dull tend to do very well in our shootouts.
Also, richness is very important. We look for a combination of rich, Tubey Magical sound that still maintains a fair amount of space, clarity, transparency and freedom from smear.
The original label pressings (always in stereo; the monos are really a joke) are richer and thicker as a rule.
The pressings with the orange two-tone labels tend to be thinner and clearer. A high percentage of them are much too modern sounding, bright and gritty, and when they are we throw them right in the trade-in pile.(more…)
One note on how to tell if you have a tonally balanced copy, at least on side two. Maggie May has multi-overdubbed, close-miked mandolins that should have strong midrange presence and an especially extended, harmonically correct top end. As soon as that song ends, a very sweet, smooth guitar opens the next track, Mandolin Wind. The two songs lean towards opposite ends of the tonal balance spectrum, but on a good copy, both of them sound right. One’s a little darker, one’s a little brighter, but they should both be right if your system is tonally balanced. (more…)
We’ve long been huge fans of this album both musically and sonically. It’s the kind of recording where the sound JUMPS out of the speakers. It reminds me of Crime Of The Century that way. It’s also one of the most DYNAMIC popular recordings I know of. If this album doesn’t wake up your system, it’s time to scrap it and start over! Musically it’s one of my all time favorite albums, a real Desert Island disc.
One of the many elements that combine to push this album well beyond the bounds of most popular recordings is the thought and care that went into the soundstaging. Listen to the stereo separation on any track — the sound of each instrument has been carefully considered within the context of the arrangement and placed in a specific location within the soundfield for a reason — usually that reason is for MAXIMUM EFFECT.
That’s why we LOVE 10cc. Their recordings from this era are an audiophile dream come true. Compare that to some of the stereo mixes for the Beatles albums, where an instrument or vocal seems to panned to one channel or another not because it SHOULD be, but because it COULD be. With 10cc those hard-left, hard-right effects make the songs JUMP. They call attention to themselves precisely because the band is having a blast in the studio, showing off all the tricks they have up their sleeves. They want you to get as big a kick out of hearing them as they did conjuring them up.(more…)
Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of the album. What surprised us most about the dozen or so copies that we played for this shootout was how wrong most copies of this album sound. They’re SOUR in the midrange. On this kind of music, a sour midrange is the kiss of death. Those copies that aren’t sour are frequently just plain dull. On a recording like this, so full of percussion — which to be honest LIVES OR DIES on the quality of its percussion — dullness is devastating. (more…)
Hot Stamper sound on both sides of this Pablo original pressing of the Two Masters in a small group setting. Basie and Peterson recorded five albums together, and this may very well be the best of the bunch, though I have yet to hear one that I didn’t enjoy. I wrote a rave review about this title when I first heard it more than ten years ago. If you like small group piano jazz — here we’re talking two pianists accompanied by Louie Bellson on drums and John Heard on bass — this should be right up your alley.
Big, rich pianos. Everything here is clear with no smear, with a fair amount of space. This side is a bit opaque compared to the best we heard, and the bass isn’t quite as deep as it was on the top copies, but overall this side is doing most of what we wanted it to.
This side is lively and tonally correct — getting the music right — but lacks extension on both ends.(more…)
This is a Blue Note LP with EXCELLENT sound! We didn’t have enough clean copies to do a shootout, but you can be sure that each side rates at least an A+ for sound.
Side one has tons of energy, gorgeous highs and a nice deep bottom end. Side two is rich and full-bodied with wonderfully textured brass. This is a superb copy with sound that does this complex music justice.
Whether you’ll like the music or not is another question — this is free form jazz; not everybody’s into it, that’s for sure. Ornette Coleman, though, is undeniably one of the masters of this genre. If you have a taste for adventurous, avant garde jazz, this is an excellent record for you both musically and sonically.(more…)
A superb sounding copy with solid Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
Here is the kind of sound we want on our ELP, Yes and Queen-like multi-layered Proggy Pop Rock – big, full-bodied and lively
4 Stars: Styx’s feisty, straightforward brand of album rock is represented best by “Blue Collar Man,” an invigorating keyboard and guitar rush… reaching number 21, with the frolicking romp of “Renegade” edging in at number 16 only six months later… the rest of the album includes tracks that rekindle some of Styx’s early progressive rock sound, only cleaner. Tracks like “Sing for the Day,” “Lords of the Ring,” and “Aku-Aku” all contain slightly more complex instrumental foundations…”
Who likes their Wall of Sound small and closed-in? Certainly not Big Speaker guys like us. By all accounts this band wanted their records to sound good, or at least as good as their contemporaries (and the bands that inspired them, name-checked above). There’s no shortage of production polish here and on the best pressings the sound really works.(more…)
This is a work that makes extensive use of the triangle, and I don’t know when I’ve ever heard a better recording of that instrument. (I think there are actually two being played.) It’s incredibly sweet, detailed and extended, without calling attention to itself in an unnatural manner. When you hear it, you know it, and I’m hearing it in my head as this is being written.
Want a good tweeter test next time you’re in the market for new speakers? Play a record with a well-recorded triangle. It’s a surprisingly hard instrument to reproduce. (more…)