- Outstanding Double Plus (A+++) sound throughout this RCA Shaded Dog pressing in Living Stereo – exceptionally quiet vinyl too
- These sides are doing pretty much everything right – they’re rich, clear, undistorted, open, spacious, and have depth and transparency to rival the best recordings you may have heard
- The music flows from the speakers effortlessly. You are there.
- This record will have you asking why so few Living Stereo pressings actually do what this one does. The more critical listeners among you will recognize that this is a very special copy indeed. Everyone else will just enjoy the hell out of it.
- If you’re a fan of orchestral showpieces such as these, this Living Stereo from 1959 belongs in your collection.
- The complete list of titles from 1959 that we’ve reviewed to date can be found here.
Years ago we wrote:
This copy was so good it almost left me speechless. Why is it not one of the most sought-after recordings in the RCA canon? Beats the hell out of me.
But wait just one minute. It wasn’t until a few years ago that I found out just how good this record could sound, so how can I criticize others for not appreciating a record I had never taken the time to appreciate myself?
Which more than anything else prompts the question — why is no one exploring, discovering and then bringing to light the exceptional qualities of these wonderful vintage recordings (besides those of us here, of course)?
This vintage Shaded Dog 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 Slaughter On Tenth Avenue Have To Offer 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 1959
- 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.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We’re Listening For On Slaughter On Tenth Avenue
- Energy for starters. What could be more important than the life of the music?
- 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.
What do we love about these Living Stereo Hot Stamper pressings? The timbre of every instrument is Hi-Fi in the best sense of the word. The instruments here are reproduced with remarkable fidelity. Now that’s what we at Better Records mean by “Hi-Fi”, not the kind of Audiophile Phony BS Sound that passes for Hi-Fidelity these days. There’s no boosted top, there’s no bloated bottom, there’s no sucked-out midrange. There’s no added digital reverb (Patricia Barber, Diana Krall, et al.). The microphones are not fifty feet away from the musicians (Water Lily) nor are they inches away (Three Blind Mice).
This is Hi-Fidelity for those who recognize The Real Thing when they hear it. I’m pretty sure our customers do, and whoever picks this one up is guaranteed to get a real kick out of it.
Slaughter on Tenth Avenue – Rodgers
Gavotte: The Blues – Gould
Three Dances From Fancy Free – Bernstein
Dances From The Three Cornered Hat – Falla
Polka From “The Age of Gould” – Shostakovich
Rodeo: Saturday Night Breakdown – Copland
Estancia: Malambo – Ginastera
Ballet Suite No. 1: Sabre Dance – Khachaturian