- This outstanding copy of the band’s third studio album boasts solid Double Plus (A++) sound or BETTER from start to finish
- This domestic LP is proof that the master tape used to cut the album in 1973 was right here in the good old U.S. of A.
- “Electric Light Orchestra’s third album showed a marked advancement, with a fuller, more cohesive sound from the band as a whole and major improvements in Jeff Lynne’s singing and songwriting.”
- “The ELO’s blending of rock drums, pop violins, a semiclassical feel in the sweep of these same violins, the midrange colors of the cello, and a vocal blend that reminds one of the Beatles in their sophisticated studio days, makes up all the key elements in their music.”
Once you’ve played a good domestic pressing, it’s obvious that the Brit vinyl is made from sub-generation copy tapes. The imports make it sound like someone threw a blanket over your speakers.
We know this because we had a bunch of them cleaned up for our first big shootout in 2010 and they all sucked. We always buy Electric Light Orchestra records on import vinyl; those are the ones that sound the best, the domestic pressings time and again sounding as though they were mastered from dub tapes.
But On The Third Day is proof that this is not always the case, just as Siren proves that the best Roxy Music albums are not always British. Live and learn I guess.
This vintage United Artists pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What the best sides of On The Third Day give you is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1973
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
For On the Third Day they’re pretty much the ones we look for on any good rock album, with one important quality moving higher up the list than would normally be the case: texture. If the strings are smeary and too smooth, lacking texture and harmonics, most of what’s fun about this music goes right out the window.
What We’re Listening For on On The Third Day
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
– King of the Universe
Bluebird Is Dead
Oh No Not Susan
New World Rising
– Ocean Breakup Reprise
Dreaming of 4000
In the Hall of the Mountain King
Electric Light Orchestra’s third album showed a marked advancement, with a fuller, more cohesive sound from the band as a whole and major improvements in Jeff Lynne’s singing and songwriting. This is where the band took on its familiar sound, Lynne’s voice suddenly showing an attractive expressiveness reminiscent of John Lennon in his early solo years, and also sporting a convincing white British soulful quality that was utterly lacking earlier.
The ELO’s blending of rock drums, pop violins, a semiclassical feel in the sweep of these same violins, the midrange colors of the cello, and a vocal blend that reminds one of the Beatles in their sophisticated studio days, makes up all the key elements in their music.
Take “New World Rising”; it’s got strumming strings in tempo with the snare drum, swirling Moog effects, and a plunking cello that leads into the voices. There are sudden stops and other enervating keys to the arrangement. It’s spectacular listening. There is a cogent blending of what sounds like classical oriented strings with the contemporary rhythm patterns.
“Dreaming of 4000” is spectacular with its echo-framed vocal effect — a gimmick that blends with the pizzicato and swirling strings. The musicianship is vastly superior to the vocals.