Don’t want the hassle of finding a nice original stereo copy?
Don’t want to invest in proper record cleaning equipment to restore the glorious sound of its 50-plus year old vinyl?
Don’t want to spend the time (decades) and money (tens of thousands of dollars) to build and tweak a top quality analog playback system?
If you don’t want to do any of these things, you are not alone. In fact you are clearly in the majority, part of that enormously tall, fat bulge right in the middle of the bell curve. As the quintessential audiophile record lover, part of the mass of the mass-market, Mobile Fidelity has made the perfect record for you.
It’s quiet, it’s tonally correct, and on the mediocre equipment you will use to play it back, it does not seem to be especially veiled, opaque or compressed. It is indeed all of these things, and many more, but you will have no reason to suspect that anything is wrong with it.
More precisely, you will have no way to know that anything is wrong with it.
Now the only thing remaining is to go to an audiophile forum and write your “expert” review, telling everyone how much better it is than whatever crappy pressing you owned and will be happily trading in soon. (This assumes you owned anything at all. I would be surprised if the average audiophile had a vintage copy of the album to compare with the new one, but no doubt some do.)
If you want to hold the pressings you play to a higher sonic standard, we are here to help. If setting a low bar is more your style, Mobile Fidelity has been making records for you for more than fifty years. As long as you keep buying them, they’ll keep making them. They’ve been setting a low bar for as long as I can remember, and the fact that they are still around is positive proof that their customers like it just fine that way.
AMG Rave Review
In many ways, Sinatra at the Sands is the definitive portrait of Frank Sinatra in the ’60s. Recorded in April of 1966, At the Sands is the first commercially released live Frank Sinatra album, recorded at a relaxed Las Vegas club show. For these dates at the Sands, Sinatra worked with Count Basie and his orchestra, which was conducted by Quincy Jones.
Like any of his concerts, the material was fairly predictable, with his standard show numbers punctuated by some nice surprises. Throughout the show, Sinatra is in fine voice, turning in a particularly affecting version of “Angel Eyes.” He is also in fine humor, constantly joking with the audience and the band, as well as delivering an entertaining, if rambling, monologue halfway through the album. Some of the humor has dated poorly, appearing insensitive, but that sentiment cannot be applied to the music.
Basie and the orchestra are swinging and dynamic, inspiring a textured, dramatic, and thoroughly enjoyable performance from Sinatra.