More TAS List Super Discs
- This original Stereo Mercury pressing boasts two solid Double Plus (A++) or BETTER sides
- It’s also fairly quiet at Mint Minus Minus, with no marks that play or issues with the inner grooves
- We owe a debt of gratitude to Harry Pearson for championing records such as this one – who is fit to carry his mantle today? (Besides us, of course!)
- “…this musical merriment is brought bubbling forth by gregarious conductor Howard Hanson and his merry band, the Eastman-Rochester Orchestra, which sounds like it had fun making this music.” – SoundStage Review
- 1958 just happens to be one of the truly great years for analog recordings, as evidenced by this amazing group of albums, all recorded or released in that year.
This vintage Mercury stereo 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 Fiesta In Hi-Fi 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 1958
- 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. 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 Fiesta In Hi-Fi
- 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.
- Powerful 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.
Size and Space
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that — a copy like this one — it’s an entirely different listening experience.
Side One
Mexican Rhapsody – Robert McBride
Savannah River Holiday – Ron Nelson
Side Two
Kentucky Mountain Portraits – Lyndol Mitchell
Cindy
Ballad
Shivaree
Joe Clark Steps Out – Charles G. Vardell, Jr
SoundStage Review
Fiesta in Hi-Fi showcases works from four different 20th-century composers that all have the joyousness of a fiesta imbued within them. The album starts off with “Mexican Rhapsody” by Robert McBride and follows with Ron Nelson’s “Savannah River Holiday.”
Side two kicks off with Lyndol Mitchell’s “Kentucky Mountain Portraits” and closes with Charles Vardell’s “Joe Clark Steps Out.”
All this musical merriment is brought bubbling forth by gregarious conductor Howard Hanson and his merry band, the Eastman-Rochester Orchestra, which sounds like it had fun making this music.
— John Crossett