Rhapsody! – The Story of an Old Fave We Were Wrong About

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A great example of an album We Was Wrong about.

As you can see by the commentary below, I used to think this was a wonderful sounding London “Sleeper” classical recording.

That was many years ago – five, six, seven, I cannot be sure. I ended up acquiring a half dozen copies of the album or so over the course of those years, had them cleaned up and proceeded to do a shootout.

It did not go well. Immediately I noticed that the pressings I was playing were sounding clean, clear and lively, but much too modern, too much like a good CD and not enough like the good Golden Age classical recordings we audition regularly.

Those recordings, on the right pressings, will take your breath away.  Rhapsody! was leaving me asking myself what was wrong. The more I listened the more obvious the faults of the recording became.

The pressings I played lacked warmth, richness, sweetness, space, and a number of other analog qualities I won’t belabor here. Too much of what makes listening to vintage vinyl so involving was just not on these records no matter how much I may have wanted them to be.

The extreme top and bottom were also lacking, giving the sound a “boxy” quality. The presentation was wide but not tall. Of the five levels of sound we discuss on the site in various listings, levels one and five were not as evident as they should have been.

This is, again, what progress in audio in all about. As your stereo improves, some records should get better, some should get worse. It’s the nature of the beast for those of us who constantly make improvements to our playback and critically listen to records all day.

We cannot rely on our previous judgments. With all the changes we’ve made over the years, we can now clean our records better and play our records better than ever before.

That means that some will rise and some will fall. This one fell, pretty hard in fact. Not a bad record, but not a good one either, and far from as good as I once thought.

Below is our previous commentary.  All of this was true for my old stereo and room, my critical listening skills at the time, my old cleaning regimen. And by old I mean my approach from only about five or six years ago!

Things have changed, dramatically, and nothing in all of audio could make me happier.

DEMO QUALITY SOUND! This is one of the greatest SLEEPER albums of all time.

This London reissue from 1979 of recordings from 1978 in Detroit, the year in which Dorati became director of the Detroit Symphony has the kind of orchestral sound we drool over here at Better Records. Dark and rich strings — the basses growl just like the real thing. Dynamic. Deep solid bass. Fluffy tape hiss, which sounds exactly the way it should. This tells you that the top end is untweaked. (Almost all Classic Records have funny sounding tape hiss as you may or may not know. It”s a dead give away that the top end is boosted. Tape hiss is like pink noise: it always sounds the same, unless somebody has fooled with it. Steve Hoffman taught me to listen for this quality and it was a lesson important to my growth as a critical listener.)

Of course these famous warhorses have been played endlessly, but Dorati understands this music and breathes life into it. The engineering by Kenneth Wilkinson, Colin Moorfoot and David Frost is right on the money. You would swear this was a vintage London import LP from their prime period, the early ”60s.

As you have no doubt read elsewhere on the site, the only way to find good records is to PLAY THEM, without regard to extraneous factors. This record is not a British pressing. Normally that’s a bad sign. But I would have never discovered it had I not been willing to ignore that fact and drop the needle on it anyway. It’s also a cheap looking reissue. Fortunately, here at Better Records, we don’t care what records look like, or what their reputations are. We are more interested in good sound and good music. In that respect, this album fits the Better Records profile to a ”T”. Guaranteed or your money back!

Side one has Liszt’s Hungarian Rhapsody No. 2 and Dvorak’s Slavonic Rhapsody. Side two has Enesco’s Roumanian Rhapsody and Ravel’s Rapsodie Espagnole.

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