- This outstanding copy of The Kinks’ sophomore release has Shootout Winning Triple Plus (A+++) sound on the second side and solid Double Plus (A++) sound on the first
- This Pink and Green Reprise original MONO pressing is lively, balanced and vibrant, with a healthy dose of the Tubey Magical Richness the Kinks’ recordings need in order to sound the way they should
- 4 1/2 stars: “…this album showcased a much more sophisticated sound… it also put them right in the front of the British Invasion pack for seriousness and complexity, out in front of where the Beatles or almost any of the competition were in early 1965…”
Presenting another entry in our extensive Listening in Depth series with advice on what to listen for as you critically evaluate your copy of Waiting For The Sun. Here are some albums on our site you can buy with similar Track by Track breakdowns.
My favorite of the first three Doors album, this one is imbued with more mystery and lyricism than previous efforts. The album shows them maturing as a band, having smoked large amounts of pot and preparing themselves for the wild ride of their next opus, the ambitious Soft Parade. Actually, as I listen to this album it reminds me more and more of that one. Now that it sounds as good as The Soft Parade, I find I’ve gained a new respect for Waiting for the Sun.
In-Depth Track Commentary
Hello, I Love You
Not To Touch The Earth
Listen to the hard rockin’ duel between the keyboards (left channel) and the guitar (right channel) in the middle of the song. Morrison is screaming is head off and Densmore is really slamming on the drums. There’s a HUGE amount of information in the grooves there, and only the best copies will be open and spacious enough to not get a bit congested.
Summer’s Almost Gone
On a Hot Stamper copy, this song is tubey magical analog at its best — warm, sweet, rich, and full-bodied.
The Unknown Soldier (more…)
This album is findable on the OJC pressing from the ’80s, but we found the sound of the OJC pressings we played seriously wanting. They were thinner and brighter than even the worst of the ’70s LPs we had auditioned. They did not make the cut for our shootout. That is not our sound. It’s not the sound Roy DuNann was famous for, so why should we like it either?
Some OJC pressings are great — including even some of the new ones — some are awful, and the only way to judge them fairly is to judge them individually, which requires actually playing a large enough sample.
Since virtually no record collectors or audiophiles like doing that, they make faulty judgments – OJC’s are cheap reissues sourced from digital tapes, run for the hills! – based on their biases and inadequate sample sizes.
You can find those who subscribe to this approach on every audiophile forum there is. The methods they have adopted do not produce good results, but as long as they stick to them they will never have to worry about discovering that inconvenient truth. (more…)
- Shootout Winning Triple Plus (A+++) grades on both sides make this the consistently best sounding batch of Orchestral Showpieces we have ever played
- After a two year hiatus, our favorite performance of Night on Bald Mountain is back, and it’s guaranteed to blow your mind (and maybe a woofer or two)
- Side one also boasts an excellent Danse Macabre, with a powerful finish that may remind you of the thrill of live orchestral music
- Side two contains a wonderfully exciting Sorcerer’s Apprentice
- Both sides are clear and transparent, with huge hall space extending wall to wall and floor to ceiling
- Watch your levels – this pressing is dramatically more DYNAMIC than most Golden Age recordings
If you like Orchestral Spectaculars, have we got the record for you!
This pressing clearly has DEMONSTRATION QUALITY SOUND — not in every way, but in some important ways. The ENERGY of both the sound and the performances of these barnburning showpieces is truly awesome. Fiedler brings this music to LIFE like no other conductor we have heard.
This pressing boasts relatively rich, sweet strings, especially for a Deutsche Grammophon LP. Both sides really get quiet in places, a sure sign that all the dynamics of the master tape were protected in the mastering of this copy (and the reason it is so hard to find a copy that plays better than Mint Minus Minus. We do have a quieter copy with lower grades if you are interested though.) (more…)
- The first copy of this classic from 1966 to hit the site in many years – arguably a better album than Album 1700!
- Both sides of this original Warner Brothers Gold Label pressing earned Shootout Winning Triple Plus (A+++) grades
- These sides are full of ’60s analog Tubey Magic – rich and warm with real immediacy and transparency
- Features top musicians and PPM versions of folk classics like And When I Die and Kisses Sweeter Than Wine
Finding great copies of this album is no easy task. Many of the copies we played were just too noisy, and most of the quiet ones just did not impress us sonically. After listening to so much mediocrity we were shocked and gratified that this very copy managed to show us a world of sound we did not expect to hear. (more…)
- You’ll find outstanding Double Plus (A++) sound on both sides of this copy of the band’s fourth American album
- This original Stereo pressing is rich and solid, and dramatically less harsh than most of the copies we played in our shootout
- “The Animals were not prolific or accomplished writers. But as interpreters, they were fearless in attack and astute in the dynamics of swing. Chuck Berry’s “Sweet Little Sixteen” becomes rent-party punk; “Don’t Bring Me Down,” a song of bittersweet dismay written by Gerry Goffin and Carole King, is turned into a seesaw ride between the creeping evil of the organ paired with Valentine’s throaty fuzz in the verses and Burdon’s crucifixion cry in the chorus.”
Although this is far from an audiophile Demo Disc — what Animals album is? — you will have a very hard time finding a copy of the album that sounds as good and plays as quietly as this one does. (more…)
We freely admit that we paid south of thirty bucks each at local stores for many of the records on our site. We pay what the stores charge, and most good rock records are priced from ten to thirty bucks these days.
Unfortunately for us, the price we paid for the records you see on the site is only a small part of the cost of the finished “product.” The reality of our business is that it costs almost as much to find a Carly Simon or Gino Vannelli Hot Stamper that sells for a hundred dollars as it does to find a Neil Young or Yes Hot Stamper that sells for five times that.
With eight to ten full-time people on staff, the listening crew constantly playing one title after another, the scores of listings going up on the site daily, all-day shopping trips to local stores, internet searches for the rarest titles, and the weekly mailers going out to our customers — all of this and more runs in excess of a thousand dollars a day. The cost of the records — the “raw material” of our business — is rarely as much as the labor it takes to find, clean and play them.
Finding good clean vinyl these days can be a real chore. Someone has to drive to a record store, dig through the bins for hour upon hour searching for good pressings, or, more likely, pressings that look like they might be good, have them all cleaned, file them away and then wait anywhere from three months to three years for the pile of copies on the storeroom shelf to get big enough to do a proper shootout. (more…)
- Four! finally makes its Hot Stamper debut with stellar Shootout Winning Triple Plus (A+++) sound or close to it from first note to last
- The timbre of the instruments in this brilliant jazz quartet is so spot-on it makes all the hard work and money you’ve put into your stereo more than pay off
- Roy DuNann engineered some of the best sounding records we have ever heard – here’s a textbook example of what the audiophiles at Contemporary were able to achieve in the studio
- 5 stars: “Pianist Hampton Hawes’ 1950s recordings for the Contemporary label are at such a high level that they could all be given five stars.”
- Incredible sound throughout with both sides earning Shootout Winning Triple Plus (A+++) grades
- DEMO DISC QUALITY form start to finish — amazing depth, soundstaging, dynamics, three-dimensionality and absolutely dead-on tonality
- A recording that allows your speakers to disappear completely like no other
- A powerful Test Disc as well – use this one to check your speed and staging, subtle changes in your equipment can have a big effect on recordings like this
Incredible sound for this CRAZY 20th Century music, featuring wild and wacky works which rely almost exclusively on percussion (not one, not two, but three bass drums!). My favorite piece here may be Ionisation, which uses real sirens (the Old School ones cranked by hand) as part of Varese’s uniquely specialized instrumental array.
But the main reason audiophiles will LOVE this album is not the music, but the SOUND. Ionisation has amazing depth, soundstaging, dynamics, three-dimensionality and absolutely dead-on tonality — it’s hard to imagine a recording that allows your speakers to disappear more completely than this one.
It also makes a superb test disc. Subtle changes in your equipment can have a big effect on recordings like this. The instrumental palette is large and colorful, giving the critical listener plenty to work with. (more…)