A distinguished member of the Better Records Jazz Hall of Fame.
If you are a fan, this record will be a thrill. If you’re unfamiliar with the Duke’s music, I can’t imagine a better introduction than this.
This LP also includes Gerry Mulligan’s only performance with the Ellington band. Paul Gonsalves’s saxophone performance is superb and worth the price of the album alone. The clarinet parts on Princess Blue are out of this world — Ellington at his best!
A distinguished member of the Better Records Rock and Pop Hall of Fame.
TWO KILLER SIDES including a STUNNING Demo Quality A+++ side one! Bring over your audio buddies and blow their minds by dropping the needle on America — I guarantee that they’ve never heard it sound like this before (unless, of course, they happen to be one of our top-shelf Hot Stamper customers already). Everything you’d hope for on a killer pressing of this album is right here on this side one, and most of it is on the A++ side two as well.
This Original Columbia 360 Label pressing has DEMO QUALITY SOUND. We know well that the average copy makes it hard to believe that a pressing like this exists, but one quick drop of the needle on any track will show you the light. We played a couple dozen copies this week and most of them weren’t fit to serve dinner on.
This one’s got the SILKY SWEETNESS and TUBEY MAGICAL ANALOG sound that Bookends demands! If your old copy left you with the idea that this is not an audiophile quality recording, we can’t say we’re surprised — most copies just plain stink.
Both sides are rich, sweet, and unusually full-bodied. A copy like this one really conveys the emotional quality of these songs in a direct and powerful way. If you love Bookends as much as we do, you’re gonna flip out when you hear this copy.
Just drop the needle on any track for a taste of what this album is supposed to sound like. I can’t tell you how many disappointing copies of Bookends that we’ve played over the last few years, and especially this last week. The typical copy is hardly worth the vinyl it’s pressed on — the spit and grain are pretty much intolerable. (more…)
Get Close has long been a personal favorite of mine. Side one starts off with a bang with My Baby, one of the best tracks this band ever recorded. Of course at this point it’s hard to call The Pretenders a band as it is pretty much Chrissie Hynde’s show. She continues to mature as a songwriter, and the arrangements and production value are excellent as well, with heavy hitters such as Steve Lillywhite, Bob Clearmountain and Jimmy Iovine involved.
We have a link to the left entitled Women Who Rock. It would look better with Chrissie Hynde’s picture instead of some Lillith Fair type in a granny dress, but that’s neither here nor there. The fact is that no other woman on earth can rock the way Chrissie Hynde can, and this album, along with Learning to Crawl, is all the proof anyone would ever need. (more…)
The story of our recent shootout is what real Progress in Audio is all about.
In our previous listings we noted:
This is one of those odd records in which the variation in sound quality from track to track is dramatic. Take the first two tracks on side one — they suck. They sound like your average LSP Mancini album, the kind I have suffered through far too many times. And that means bad bad bad.
Courtesy of Revolutions in Audio.
But track three boasts DEMO DISC QUALITY SOUND and the next one is nearly as good. Listen to that wonderful glockenspiel. It sound every bit as magical as anything on Bang, Baa-room and Harp, and that’s some pretty magical sound in my book!
Same thing happens on side two. Bad sound for the first tracks, then track four sounds great, followed by a pretty good five and a lovely six with a chorus of voices to die for. Go figure.
Is there a copy that sounds good from start to finish? Doubtful.
We’ve made a dozen or more improvements to the system since we last did this shootout, and I’m happy to report that most of the tracks we had trouble with in the past are now sounding very good indeed. Of course the better tracks we noted from years ago are even better, making this a consistently good sounding Mancini record.
One obvious change from the old days is that we now spend a fair amount of time honing in the VTA for every title. That may account for the fact that the first track on side one, which used to be problematical, now sounds wonderful. The value of getting the correct VTA setting — by ear, for every record — cannot be overestimated in our opinion. (more…)
This Super Hot Stamper pressing has superb RCA Living Stereo sound, with an exceptionally clear, solid, tonally correct piano.
We recently did a major shootout for all of Beethoven’s Piano Concertos, pulling pressings from the three major Golden Age labels — RCA, London, Mercury — and this Fourth came out near the top of the heap. Most pressings of Rubinstein’s Beethoven concertos simply do not have this kind of open, big and bold sound. Side one earned a grade of A++ and side two was actually a bit better at A++ to A+++. That makes this a very special piano recording indeed. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
Finding clean real Elvis records — not those crappy compilations and vault-leftovers, but real Elvis albums from his golden period when he was the true King of Pop (sorry Michael) — has never been a walk in the park. We do the best we can.
Fortunately there are some reissues from the ’60s and ’70s that have the potential for excellent sound. This is clearly one of them. The originals we see are a lost cause; they’re practically always scratched and full of groove damage. We’d be lucky to find a clean one every five or ten years nowadays.
Side One
Breathy vocals and very full sound make this a top quality side.
For a kick check out the great sounding percussion on the third track.
Side Two
Rich and smooth on the first track, more like an old Elvis record, but the next tracks sound better, tubier and livelier (more…)
We rate the DCC LP a B Minus
We used to like the DCC pressing of this Doors album. Now… not so much. It’s a classic case of We Was Wrong.
Keep in mind that the only way you can never be wrong about your records is simply to avoid playing them. If you have better equipment than you did, say, five years ago, try playing some of your MoFi’s, 180 gram LPs, Japanese pressings, 45 RPM remasters and the like. You might be in for quite a shock.
Of course the qustion on everyone’s mind is, “How does this Hot Stamper copy stack up to the famous DCC pressing?” After all, it’s the one we were touting all through the ’90s as The One To Beat. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
The typical copy of this album has a number of problems: midrange honk; hardness to the vocals; lack of presence; congestion; insufficient energy; blunted transients; grainy highs and so on. The Warner Bros. team of this era (Herscberg, Titleman, Waronker, etc.) brought us some wonderful recordings, but you’d never know it from listening to the typical ’80s WB Tan Label LP, which tend to be pretty poor. Of course, search hard enough and you can find a copy that delivers some of the magic of the master tape, and that’s exactly what we have here. (more…)
Yet another in the long list of recordings that really comes alive when you Turn Up Your Volume.
AMAZING White Hot Stampers for the greatest KEN SCOTT production in history. This is his (and the band’s) MASTERPIECE, and now we have a pressing that allows us to revel in the GLORY that is Crime of the Century!
This killer copy rates A+++ on BOTH sides. Wow is the only word I can think of to describe it. (more…)
