- An excellent British import LP of ELO’s Rock Masterpiece boasting Double Plus (A++) grades or BETTER from start to finish
- Impossibly quiet vinyl throughout – not even those copies we’ve unsealed for our shootouts have been free from ticky vinyl in places or played much quieter than Mint Minus Minus, making this a very special pressing indeed
- These sides have the punchy bass and fully-weighted sound that this music demands – the energy level coming from these grooves is off the scale
- 4 1/2 stars: “Opening with the opulently orchestrated ‘Tightrope,’ which heralds the perfect production found throughout this album, A New World Record contains seven of the best songs ever to come out of the group.”
- If like us you’re a fan of Arty Rock from the ’70s, this is a killer album from 1976 that belongs in your collection.
- The complete list of titles from 1976 that we’ve reviewed to date can be found here.
A New World Record Checks Off a Number of Big Boxes for Us
Even though I am not the world’s biggest ELO fan, I am a HUGE fan of this album, which is why I’m so happy to have finally found one with AMAZING SOUND, on both sides! The British originals are the only ones that can convey the sweet TUBEY MAGIC of the British Master Tapes. The string tone on the average domestic copy is shrill and smeary; too little of the critically important texture remains after the master tapes have been dubbed and the copies sent to America for mastering.
As a result of Jeff Lynne’s everything-but-the-kitchen-sink production approach, it’s the rare copy that provides enough transparency and resolution to bring out all the elements in these incredibly dense mixes, strings included. For audiophiles, ELO on LP doesn’t get any better.
Love those female background singers — their voices are clear and individually separated, but even more importantly, on the best copies like this one they are ENTHUSIASTIC. This is the very definition of a Hot Stamper: ELO on this copy is full of life and energy. The average copy is just another ELO record, like most of them Dead On Arrival.
This vintage UK 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 A New World Record 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 1976
- 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.
What We’re Listening For On A New World Record
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- 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.
And I have never heard a CD in my life with this kind of tubey magical richness and sweetness. That medium never does justice to the sound of recordings like this one, in my experience anyway. People who exclusively play CDs have forgotten what that sound is; that’s why they can happily live without it. I sure can’t. At present, this sound is exclusively the domain of analog and likely to remain so well into the future.
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
A Classic Rock Masterpiece
This is, in my humble opinion, the band’s MASTERPIECE. Others that belong in that category can be found here.
Both sides start off with a uptempo rocker, and this side’s is Tightrope.
Watch your string tone. If it’s shrill or grainy you are going to find yourself in trouble on practically every song on A New World Record — they all have strings and lots of them.
You need richness in the lower mids, harmonic extension up top, and just plain highly resolving sound if the strings are going to sound right in the mix.
Note that sometimes the highs get better on a record as it plays. Check to see if you don’t have more top end by the second track, or even halfway through this one. Happens to us all the time.
My single favorite ELO song of all time. Full of emotion and beautifully produced. Lynne is the master of this kind of material.
Allmusic raves: “Telephone Line might be the best Lennon-McCartney collaboration that never was, lyrical and soaring in a way that manages to echo elements of Revolver and the Beatles without ever mimicking them.”
Mission (A World Record)
The side gets off to a good start with this rocker.
Another monster smash single that still holds up.
Above The Clouds
Written in 1971 for The Move, this is the arrangement that made it a hit.
AMG 4 1/2 Star Rave Review
Jeff Lynne reportedly regards this album and its follow-up, Out of the Blue, as the high points in the band’s history. One might be better off opting for A New World Record over its successor, however, as a more modest-sized creation chock full of superb songs that are produced even better. Opening with the opulently orchestrated “Tightrope,” which heralds the perfect production found throughout this album, A New World Record contains seven of the best songs ever to come out of the group. The Beatles influence is present, to be sure, but developed to a very high degree of sophistication and on Lynne’s own terms, rather than being imitative of specific songs. “Telephone Line” might be the best Lennon-McCartney collaboration that never was, lyrical and soaring in a way that manages to echo elements of Revolver and the Beatles without ever mimicking them. The original LP’s second side opened with “So Fine,” which seems like the perfect pop synthesis of guitar, percussion, and orchestral sounds, embodying precisely what Lynne had first set out to do with Roy Wood at the moment ELO was conceived. From there, the album soars through stomping rock numbers like “Livin’ Thing” and “Do Ya,” interspersed with lyrical pieces like “Above the Clouds” (which makes striking use of pizzicato bass strings).