- This Copland masterpiece returns with superb Double Plus (A++) sound throughout – reasonably quiet vinyl too, with no audible marks and no Inner Groove Distortion (IGD)
- This spectacular Demo Disc recording is clear, rich, dynamic, transparent and energetic – here is the BIG, BOLD sound we love
- There is a note on the inner sleeve that says this was a Record Club of America purchase in 1973
- Can you imagine that a Record Club was offering records in 1973 that were better sounding than anything made today? Astonishing!
- “To the ultimate delight of audiences Copland managed to weave musical complexity with popular style.”
- If you’re a fan of orchestral showpieces such as these, this is a recording from 1967 that belongs in your collection.
- The complete list of titles from 1967 that we’ve reviewed to date can be found here.
This vintage Turnabout 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 Billy The Kid 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 1967
- 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 Billy The Kid / Rodeo / Fanfare For The Common Man
- 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.
- 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.
A Must Own Classical Record
This Demo Disc Quality recording should be part of any serious Classical Music Collection. Others that belong in that category can be found here.
Fanfare For The Common Man
Four Dance Episodes From “Rodeo”
Saturday Night Waltz
Billy The Kid (Ballet Suite)
The Library Of Congress On Fanfare for the Common Man
“Fanfare for the Common Man” was certainly Copland’s best known concert opener. He wrote it in response to a solicitation from Eugene Goosens for a musical tribute honoring those engaged in World War II. Goosens, conductor of the Cincinnati Symphony Orchestra, originally had in mind a fanfare “… for Soldiers, or for Airmen or Sailors” and planned to open his 1942 concert season with it.
Aaron Copland later wrote, “The challenge was to compose a traditional fanfare, direct and powerful, yet with a contemporary sound.” To the ultimate delight of audiences Copland managed to weave musical complexity with popular style. He worked slowly and deliberately, however, and the piece was not ready until a full month after the proposed premier.
To Goosens’ surprise Copland titled the piece “Fanfare for the Common Man” (although his sketches show he also experimented with other titles such as “Fanfare for a Solemn Ceremony” and “Fanfare for Four Freedoms”). Fortunately Goosens loved the work, despite his puzzlement over the title, and decided with Copland to preview it on March 12, 1943. As income taxes were to be paid on March 15 that year, they both felt it was an opportune moment to honor the common man. Copland later wrote, “Since that occasion, ‘Fanfare’ has been played by many and varied ensembles, ranging from the U.S. Air Force Band to the popular Emerson, Lake, and Palmer group … I confess that I prefer ‘Fanfare’ in the original version, and I later used it in the final movement of my Third Symphony.”
Aaron Copland, said the composer and conductor Leonard Bernstein, was the one to “lead American music out of the wilderness.” Copland’s musical opus, for which he received the 1964 Medal of Freedom, also included such masterworks as “Piano Variations” (1930), “El Salon Mexico” (1936), “Billy the Kid” (1938), “Fanfare for the Common Man” (1942), “Rodeo” (1942), “Appalachian Spring” (1944), and “Inscape” (1967).