My notes for the one and only UK pressing I’ve played in many years, the one with Porky is the dead wax, note its many weaknesses:
Really loud and full
Too loud and hot vocal
Strains a lot
You know what the sound of this record reminds me of?
An old 45.
It’s not unusual for 45 RPM singles from back in the day to be very loud, very compressed, often with hot vocals that jump right into your lap.
Mono mixes sometimes have some of that same lowest-common-denominator sound. This mix is stereo but it sounds like it’s coming right out of a jukebox.
No doubt Mr. Peckham was told to make the record sound that way, and he did his job very well.
But audiophiles looking for good sound should heed my warning and avoid the UK LPs of the album. It’s a joke next to the domestic pressings with the right stampers. (The right stampers are hard to find but you will never hear a good sounding early pressing unless you have a copy with the stampers that sound right, a tautology to be sure but one worth noting.)
OUR PREVIOUS COMMENTARY.
The British pressings are simply not competitive with the best domestics. No import, from any country, can touch a good Columbia pressing from the states. The most common stampers for the Columbia pressings have never sounded very good to these ears, but that doesn’t mean there aren’t some killer copies with different stampers sitting in the bins wearing the generic ’70s Red Columbia label. We’ve heard them. Wish we could find more of them but they are rare and only getting rarer.
This record sounds best this way:
For those who might be interested in finding their own Hot Stamper pressings, we here provide
We play mediocre-to-bad sounding pressings so that you don’t have to, a public service from your record loving friends at Better Records.
You can find this one in our Hall of Shame, along with more than 350 others that — in our opinion — qualify as some of the worst sounding records ever made. (On some records in the Hall of Shame the sound is passable but the music is bad. These are also records you can safely avoid.)
Note that most of the entries are audiophile remasterings of one kind or another. The reason for this is simple: we’ve gone through the all-too-often unpleasant experience of comparing them head to head with our best Hot Stamper pressings.
When you can hear them that way, up against an exceptionally good record, their flaws become that much more obvious and, frankly, that much more inexcusable.