In 2011 we made the (usually pointless) effort to compare our London pressing to the 180 gram Speakers Corner reissue which we were carrying at the time. We noted simply that it “was a joke next to this copy.”
I wish I could tell you in what way the Heavy Vinyl pressing was a joke — we try to be very specific about the shortcomings of these records, which is why we publish our notes for some of them — but the old notes are long gone.
Naturally we don’t have the reissue to play this time around. Still, we are confident that the results of any comparison would be the same.
Mark Lehman in the Absolute Sound gave the ORG Heavy Vinyl remastering Five Stars, having this to say about the sound:
ORG’s 45rpm remastering is terrific (as indeed are all of the ORG vinyl reissues I’ve heard). Comparison with the late- 60s London LP on which the Suite first appeared reveals sharpened and clarified attacks and articulations, more tightly focused individual strands, fuller and warmer string choirs, more resonant brass, more pillowy air around flutes, clarinets, and oboes, and more nuance and opulence in the orchestral blends. The total effect is to make Albeniz’s composition even more sweeping, rhapsodic, richly hued, evocative, and involving—and that’s saying something, considering how good the sonics are on this recording’s first incarnation.
If only it were true!
We readily admit we have never played the ORG pressing and have no plans to, but when has a Heavy Vinyl pressing ever had any of the qualities described above, let alone in such abundance?
Never in our experience, and our experience extends to hundreds and hundreds of them.
Enough about records we’ve never played. Let’s discuss some of the pressings of this very recording — a favorite of ours, for which we have done a number of shootouts — that we actually have played
The Super Analogue remaster from the ’90s was awful. I would give it an F if I were grading it today.
The Speakers Corner pressing earned a B grade from us, which makes it one of the better releases on that label.
One or two out of ten would rate a B I would guess. I don’t know of any record of theirs that rates a grade higher than B. Using letter grades, our grading system of White Hot, Super Hot and Hot would translate to something like A Plus, A and A Minus. Which means that there is no Heavy Vinyl pressing, from any era, on any label, that should be able to beat any Hot Stamper pressing on our site, and we back that up with a 100% Money Back Guarantee.
The only real competition to our Hot Stamper is going to be an original London.
As always we guarantee our pressing will beat anything you have ever heard, including the ORG, the Super Analogue, the Speakers Corner, or whatever else you may have — or your money back.
This is a guarantee that, to our knowledge, no one else in the record business can or will make.
The embrace of one third-rate Heavy Vinyl pressing after another by audiophile reviewers has rendered absurd the pretense that any of them ever developed much more than the most rudimentary critical listening skills.
Sadly, the Dunning-Kruger effect, the best explanation for the sorry state of audio these days, means they simply don’t know how little they know and therefore see no reason to doubt their high opinions of themselves, their equipment and their acumen.
Progress in audio is possible, but only if you know that you are not already at the top of the mountain. It’s important to recognize just now much serious climbing remains to be done.
Reviewer malpractice? We’ve been writing about it for more than 25 years.