Sonic Grade: F
Ouch this record sounds bad. Some of the worst sound I have ever heard on Heavy Vinyl. The average cassette sounds better than this piece of crap.
Side one: track one is thin and hard. Track two is not very tubey and the sibilance is harsh.
Side two: track two is full and tubey but track three shows that the sound may be tubey but it is very compressed.
But some people think that records that were made from the analog master tapes should sound good. Especially those pressed on virgin vinyl.
What could possibly have gone wrong?
We have no idea. We just play the records and listen to them. We let them tell us if they are wrong or right.
This one told us it may have been made from good tapes — may have been, the good folks at Columbia records might be lying to us about that, it wouldn’t be the first time and I certainly would not put it past them — but it sure wasn’t made very well.
More Heavy Vinyl Reviews
Here are some of our reviews and commentaries concerning the many Heavy Vinyl pressings we’ve played over the years, well over 200 at this stage of the game. Feel free to pick your poison.
There are many kinds of audiophile pressings — Half-Speeds, Direct-to-Discs, Heavy Vinyl Remasters, Japanese Pressings, the list of records offered to the audiophile with supposedly superior sound quality is endless. Having been in the audiophile record biz for more than thirty years, it has been our misfortune to have played them by the hundreds,
In order to help you avoid the worst of the worst, we put a great many of them in a section of their own, which we call:
How did we find so many bad sounding records? The same way we find so many good sounding ones. We included them in our shootouts, comparing them head to head with our best Hot Stampers.
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.
AMG 5 Star Rave Review
And damn if this music isn’t funk at its deepest and most impenetrable — this is dense music, nearly impenetrable, but not from its deep grooves, but its utter weariness. Sly’s songwriting remains remarkably sharp, but only when he wants to write — the foreboding opener “Luv N’ Haight,” the scarily resigned “Family Affair,” the cracked cynical blues “Time,” and “(You Caught Me) Smilin’.” Ultimately, the music is the message, and while it’s dark music, it’s not alienating — it’s seductive despair, and that’s the scariest thing about it.