A classic case of Live and Learn.
Scroll down to read what we learned from our from a while back. To illustrate how the game is played we’ve copied some of the previous commentary into this listing to show the change in our understanding from 2004 to about 2010 or so, which is when all this was probably written.
Live and Learn, Part One
These domestic original pressings have the very same stamper numbers as the British pressings. It appears that the metalwork was produced in England and shipped to America for pressing on domestic vinyl. What’s strange is that the American pressings are consistently brighter than the British pressings. Why this should be is a mystery, but I have a theory to explain it. The British stampers are used to make British LPs on that lovely see-through purple vinyl, and I’m guessing that that compound is a little smoother sounding than the vinyl that Uni uses. Either that or there is some other way that Uni produces their records so that they end up being brighter, even using the exact same stampers as the British ones.”
Partly true. We have five British copies in stock, and the reason they don’t sound as good probably has less to do with British vinyl and more to do with the fact that the British ones we have are not the stampers we like the best. The domestic pressings with our favorite stampers have more highs and better highs and just plain sound better to us now.
Notice how I completely contradict myself below, yet both listings were up on the site all this time and nobody, especially me, seems to have noticed.
Live and Learn, Part Two
These original British pressings, with the lovely see-through purple vinyl, are the only good sounding versions of this album that I have ever heard. As you can imagine they are extremely difficult to come by in clean condition.
What is there to say about such a bald-faced turnabout? Simple. We make our judgments based on the records we have on hand to play. When better pressings come along, or our equipment improves to the point where we can appreciate other pressings, we will happily and unhesitatingly report what we hear.
There is not now, nor can there ever be, an absolutely correct answer to the question, “Which is the best version of Record X?”
All knowledge is provisional. We do the best we can, and we think we do it better than anybody else. That said, we keep our minds and our ears open to new and better pressings whenever they come our way. (If the remastered Blue had sounded good, I would have been perfectly happy to say so and sell them to all our customers like crazy. But that was not to be, not for any reason other than the record just didn’t sound right to us. Maybe someday I will come to appreciate it more — can’t say I won’t — but I’m sure not holding my breath until then.)