Author: humorem

Neil Young / After the Gold Rush – Because Sound Matters?

More of the Music of Neil Young

Reviews and Commentaries for After the Gold Rush

I don’t know why I wasted so much time critiquing the sound of this remastered (2009) pressing. Frankly, it really wasn’t worth it.

However, since I listen to records for a living, I figured I might as well listen to this one, head to head of course with an excellent vintage pressing. 

We know what the good pressings of After the Gold Rush sound like, we play them regularly, and this newly remastered vinyl is missing almost everything that makes the album essential to any Right Thinking Music Lover’s collection.

We can summarize the sound of this dreadful record in one word: boring.

Since some of you may want to know more than that we’ll be happy to break it down for you a bit further.

Is it the worst version of the album ever made? Hard to imagine it would have much competition.

What It Does Right

It’s tonally correct. Unlike many modern pressings, it is not overly smooth.

Uh, can’t think of anything else…

What It Does Wrong

Where to begin?

It has no real space or ambience. When you play this record it sounds as if they must have recorded it in a heavily padded studio. Somehow the originals of After the Gold Rush, like most of Neil’s classic albums from the era, are clear, open and spacious.

Cleverly the engineers responsible for this audiophile remastering have managed to reproduce the sound of a dead studio on a record that wasn’t recorded in one.

In addition, the record never gets loud. The good pressings get very loud. They rock, they’re overflowing with energy.

And, lastly, there’s no real weight to the bottom end. The Whomp Factor on this new pressing is practically non-existent. The bottom end of the originals is huge, deep and powerful.

The Bottom Line

This new Heavy Vinyl pressing is boring beyond belief. I wouldn’t give you a nickel for it. If Neil Young actually had anything to do with it, he should be ashamed of himself. If you want a good copy of the album, find yourself a vintage pressing. Please don’t throw your money away on this one.

And if Chris Bellman is such a good cutting engineer, as I hear tell, why does this record sound as bad as it so obviously does?

This remastered version of Neil Young’s After the Gold Rush is an Audiophile Hall of Shame pressing and a heavy vinyl disaster if ever there was one (and oh yes, the vinyl world is currently drowning in them).

Further Reading

The Clash – London Calling

More of The Clash

More New Wave

  • An excellent UK import copy with solid Double Plus (A++) sound or BETTER on all FOUR sides – exceptionally quiet vinyl too
  • Sides one and two were very close in sound to our Shootout Winner – you will be shocked at how big and powerful the sound is
  • Guaranteed to be a huge improvement over anything you’ve heard, this Brit is big, punchy, and full-bodied with excellent presence
  • A shockingly well-recorded album that comes to life with the combo of a great copy and a hi-res, full-range system
  • 5 stars: “A stunning statement of purpose and one of the greatest rock & roll albums ever recorded.”

Audiophile sound for this punk rock classic?! You better believe it, baby! The sound here is superb for all four sides.

What really sets this album apart sonically is The Clash’s use of reggae and dub influences. You can really hear it when you tune in to the bottom end; your average late 70s punk record won’t have this kind of rich and meaty bass, that’s for sure. Drop the needle on “The Guns Of Brixton” (last track on side two) to hear exactly what I’m talking about. On a Hot Stamper copy played at the correct levels (read: quite loud!) the effect is positively HYPNOTIC.

Bill Price engineered and as we like to say, he knocked this one out of the park. The best sounding record from 1979? I have the feeling it just might be.

Nobody would have accused The Clash of being an audiophile-friendly band, but a copy like this might make you think twice about that! We had a blast doing this shootout and we hope whoever takes this home has just as much fun with it.

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Listening in Depth to Bookends

More of the Music of Simon and Garfunkel

Reviews and Commentaries for Bookends

Musically side two is one of the strongest in the entire Simon and Garfunkel oeuvre (if you’ll pardon my French). Each of the five songs could hold its own as a potential hit on the radio, and there is no filler to be found anywhere. How many albums from 1968 can make that claim?

The estimable Roy Halee handled the engineering duties. Not the most ‘natural” sounding record he ever made — the processing is heavy handed on a number of tracks — but that’s clearly not what neither he nor the duo were going for.

If you want natural, Parsley, Sage, Rosemary and Thyme has what you are looking for. That said, as of 2022 both are Top 100 Titles.

The three of them would obviously take their sound much farther in that direction with the Grammy winning Bridge Over Troubled Water from 1970.

The bigger production songs on this album have a tendency to get congested on even the best pressings, which is not uncommon for four track recordings from the 60s. Those of you with properly set up high-dollar front ends should have less of a problem than some. $3000 cartridges can usually deal with this kind of complex information better than $300 ones.

But not always. Expensive does not always mean better, since painstaking and exacting setup is so essential to proper playback.

The Wrecking Crew provided top quality backup, with Hal Blaine on drums and percussion, Joe Osborn on bass and Larry Knechtel on piano and keyboards.

Side One

Bookends Theme
Save the Life of My Child

I used to think this track would never sound good enough to use as an evaluation track. It’s a huge production that I’d found practically impossible to get to sound right on even the best original copies of the album. Even as recently as ten years ago I had basically given up trying.

Thankfully things have changed. Nowadays, with great copies at our disposal and a system that is really cooking, virtually all of the harmonic distortion in the big chorus near the opening disappears. It takes a very special pressing and a very special stereo to play this song.

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Brian Eno / Taking Tiger Mountain Is a Masterpiece

More Brian Eno

More Art Rock Records

  • An original UK Island import pressing of Eno’s Art Rock Masterpiece with an INCREDIBLE Shootout Winning Triple Plus (A+++) side two mated to a solid Double Plus (A++) side one
  • Side two of this copy resolves the subtle harmonics of Eno’s treated sounds better than all others we played – here is a truly immersive Art Rock experience like no other
  • Only these British originals ever win shootouts – their superior sound comes as the result of their being transferred from fresh master tapes, using the highest resolution cutting equipment available, onto to the best storage medium to ever exist: the British vinyl LP
  • This copy has been in my personal collection for the last twenty years or so, and I hope it goes to a good home, the kind of home where it will be played regularly and not just “collected”
  • “The songs…are as inventive and appealing as their treatments, and make for Eno’s most solid–and experimental–pop album. This LP holds up magnificently, even years on in the artist’s brilliant career.”

This is Brian Eno’s Masterpiece, as well as a Personal Favorite of yours truly.

On the right pressing this is a Twisted Pop Demo Disc like nothing you have ever heard. If you have a big speaker and the kind of high quality playback that is capable of unraveling the most complicated musical creations, with all the weight and power of live music, this is the record that will make all your audio effort and expense worthwhile.

That’s the kind of stereo I’ve been working on for forty years and this album just plain kills over here.

Art Rock

That being said, it may not be the kind of thing most music loving audiophiles will be able to make much sense of if they have no history with this kind of Art Rock from the 70s. I grew up on Roxy Music, 10cc, Eno, The Talking Heads, Ambrosia, Supertramp, Yes and the like, bands that wanted to play rock music but felt shackled by the chains of the conventional pop song. This was and still is my favorite kind of music.

When it comes to the genre, I put this album right at the top of the heap along with several other landmark albums from the period: More Songs About Buildings and Food, Roxy Music’s first, Sheet Music, Crime of the Century, Ambrosia’s first two releases, The Yes Album, Fragile and perhaps a handful of others, no more than that.

Repeat As Necessary

Like Roxy Music’s first album, this is a powerhouse that not only rewards repeated listenings but requires them. Music like this simply cannot be digested at one sitting. Like the Beatles said, It’s All Too Much. But the more you hear it the more you will be able to understand it and appreciate it and, if you’re like me, really start to love it (I hope). I’ve been listening to this album since the mid-70s and have never tired of it. To me it’s the very definition of a Desert Island Disc: a record that knocks me out every time I play it and never wears out its welcome. It’s still fresh and “cutting edge” (if I can use that term) nearly fifty years after its release.

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Did We Get The Power of the Orchestra Wrong, or Are These Just Bad Stampers?

Hot Stamper Pressings of Living Stereo Recordings Available Now

More on Mussorgsky’s (and Ravel’s) Masterpiece – Pictures at an Exhibition

In 2007, we wrote the following review for The Power of the Orchestra, VCS 2659:

DEMO DISC QUALITY ORCHESTRAL SOUND like you will not believe. We put two top copies together to bring you the ultimate-sounding Pictures At An Exhibition. Folks, it doesn’t get any better than this for huge orchestral dynamics and energy.

I confess I badly misjudged this record over the course of the last few years. I remember liking it in the early ’90s; at that time it was the only Golden Age recording of Pictures whose performance moved me. I never liked the famous Reiner, LSC 2201, and Ansermet’s performance on London also lacks drive and coherency in my opinion.

I then went on to extoll the many virtues of the recording, making special mention of the brass, dynamics and bass, which you can read about here.

More recently we played a copy of VCS 2659 in one of our regular Pictures at an Exhibition shootouts and were not the least bit impressed by it.

Side One:

Steely and opaque, not that good.

Side Two:

Strings are not very [unintelligible], not much weight.

In other words, it just sounded like an old record.

The world is full of old records. It’s why we are in business. We sell old records, sure, but ours sound good, and, more often than not, amazingly good, better than any pressings you’ve ever heard.

In both cases, the EMI with Muti “kills it.”

Were we wrong years ago? Hard to say. That copy from 2007 is long gone.

Are 6s/4s especially bad stampers, and others might be superior? That is certainly possible.

The following three things should be kept in mind when a pressing doesn’t sound like we remember it did, or think it should:

  1. Our standards are quite a bit higher now, having spent decades critically listening to vintage classical pressings by the hundreds.
  2. Our stereo is dramatically more revealing and more accurate than it used to be.
  3. Since no two records sound the same, maybe the one from long ago actually did sound as good as we thought at the time.

With all of the above considered, the current consensus is that The Power of the Orchestra is very unlikely to be as good a record as we used to think it was. It’s also unlikely we would ever buy another one at anything but a bargain price.

Looking at the big picture, this is probably an example of a record we got wrong.

2007 was a long time ago. It was the year we made many breakthroughs. In fact, we made more breakthroughs in that year than in any other in the history of the company, including this singularly important break with the past.

However, if tomorrow we run into a copy of the album that sounds amazing, with different stampers, or even the same stampers, then all of the above is thrown into the cocked hat that is the reality of the record world: pressing variability.

Further Reading

Pat Benatar – Crimes of Passion

More Pat Benatar

More Women Who Rock

  • This vintage copy (only the second to hit the site in nearly three years) is close to the BEST we have ever heard, with both sides earning incredible Nearly Triple Plus (A++ to A+++) grades, just shy of our Shootout Winner – exceptionally quiet vinyl too
  • All kinds of big hits can be found on this one, including Benatar classics such as “Treat Me Right,” “You Better Run” and “Hit Me With Your Best Shot”
  • 4 1/2 stars: “Benatar avoids the synth-happy trends of the early 80s and delivers a hard rocking ten-song session of power pop tempered with a few ballads for balance.”

Credit for the sound must go to the brilliant engineer Keith Olsen, the man behind the amazing sounding Fleetwood Mac self-titled release from 1975. Is there a better sounding Fleetwood Mac album? I certainly can’t think of one.

The man knows Big Rock sound as well as anyone in the business. The two recordings mentioned above and our Crimes of Passion here have too much in common for it to be a mere coincidence. All three have tons of bass (which is the sine qua non of live rock music), huge size and scope, richness, Tubey Magic, a smooth top and last but not least, hard-rockin’ energy.

Those of you who’ve seen the documentary on Sound City know its reputation for great acoustics, along with all the best analog recording equipment and tube microphones. You can clearly hear all of it come together on this album — if you have a copy that sounds like this one that is.

By the way, I note with special interest their first few recording projects from 1970 as listed on their discography page: Spirit’s Twelve Dreams of Dr. Sardonicus (a personal favorite of yours truly), produced by David Briggs, along with another rather well known David Briggs production, After the Gold Rush. The list of Great Sounding Timeless Classic Rock Albums recorded there is a long and glorious one.

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A.C. Jobim – The Composer of ’Desafinado’ Plays

More Antonio Carlos Jobim

More Bossa Nova

  • You’ll find stunning Nearly Triple Plus (A++ to A+++) sound throughout this original Verve Stereo pressing – just shy of our Shootout Winner
  • Both of these sides are clean, clear and dynamic yet still full of rich, warm 1963 Tubey Magical Analog sound
  • We love the music of Antonio Carlos Jobim here at Better Records and we think this album is his best – no serious Jazz Collection should be without it
  • Marks and problems in the vinyl are sometimes the nature of the beast with these vintage LPs – there simply is no way around them if the superior sound of vintage analog is important to you
  • 4 1/2 stars: “A dozen songs, each one destined to become a standard — an astounding batting average.”

We’re big fans of Jobim here at Better Records, and this pressing was close to the best from our recent shootout. We had a wonderful time listening to a big pile of pressings — the sound (and music) were out of this world. We were shocked at just how well recorded this album is.

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Sonny Rollins Plus 4 – Defending the Indefensible

The Music of Sonny Rollins Available Now

Reviews and Commentaries for the Music of Sonny Rollins

This review is from 2014 or thereabouts.

I cannot recall hearing a more ridiculously thick, opaque and unnatural sounding pair of audiophile records than this 45 RPM Analogue Productions Heavy Vinyl release, and I’ve heard a ton of them. 

Surely someone must have noticed how awful these records sound.

So, being an enterprising sort, with a few idle moments to spare, I did a google search. To my surprise it came up pretty much empty. Sure, dealers are selling it, every last one of the bigger mail-order types.

But how is it that no reviewer has taken it to task for its oh-so-obvious shortcomings?

And no one on any forum seems to have anything bad to say about it either. How could that be?

We don’t feel it’s incumbent upon us to defend the sound of these pressings. We think for the most part they are awful and want nothing to do with them.

But don’t those who DO think these remastered pressings sound good — the audiophile reviewers and the forum posters specifically — have at least some obligation to point out to the rest of the audiophile community that at least one of them is spectacularly bad, as is surely the case here.

Is it herd mentality? Is it that they don’t want to rock the boat? They can’t say something bad about even one of these Heavy Vinyl pressings because that might reflect badly on all of them?

I’m starting to feel like Mr. Jones: Something’s going on, but I don’t know what it is. Dear reader, this is the audiophile world we live in today. If you expect anyone to tell you the truth about the current crop of remastered vinyl, you are in for some real disappointment.

We don’t have the time to critique what’s out there, and it seems that the reviewers and forum posters lack the — what? desire, courage, or maybe just the basic critical listening skills — to do it properly.

Which means that in the world of Heavy Vinyl, it’s every man for himself.

And a very different world from the world of Vintage Vinyl, the kind we offer. In our world we are behind you all the way. We guarantee your satisfaction or your money back.

Now which world would you rather live in?

Further Reading

Records are getting awfully expensive these days, and it’s not just our Hot Stampers that seem priced for perfection.

If you are still buying these modern remastered pressings, making the same kinds of mistakes that I was making before I knew better, take the advice of some of our customers and stop throwing your money away on Heavy Vinyl and Half-Speed mastered LPs.

At the very least let us send you a Hot Stamper pressing — of any album you choose — that can show you what is wrong with your copy of the album.

And if for some reason you disagree with us that our record sounds better than yours, we will happily give you all your money back and wish you the very best.

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Violin and Piano Concerto Recordings that Fall Apart

Hot Stamper Pressings Featuring the Violin

Hot Stamper Pressings of Piano Concerto Recordings

Many of the vintage orchestral recordings we’ve auditioned over the years did a good job of capturing the lead instrument in a concerto — for example, the piano or violin — but fell apart completely when the orchestra came in, with obvious and unacceptable levels of congestion and distortion.

Orchestras are hard to record. Pianos and violins, not so much.

Here are some titles that often have congestion problems when they get loud. If you play your orchestral recordings at moderate levels, you may not be as bothered by this problem as we are, because we do not have the luxury of listening at moderate levels.

We have to put the records through the ringer, and one of the ringers they must go through is they must sound right at loud levels, because live music gets loud, without getting distorted or congested.

Congestion and distortion are problems for practically all the titles you rarely see on our site, the vintage pressings of recordings by EMI, DG, Philips, Columbia and dozens of others.

We discussed the problem here in more detail.

Further Reading

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John Coltrane – Expression

More John Coltrane

More Jazz Recordings Featuring the Saxophone

  • Boasting two solid Double Plus (A++) or BETTER sides, this Impulse Stereo reissue pressing is guaranteed to blow the doors off any other Expression you’ve heard
  • Huge space, size and clarity, with Tubey Magical richness befitting the 1967 recording dates of these sessions at Van Gelder Studios
  • That Tubey Magic is surely long gone by now, so those of you looking for this kind of sound on a modern pressing should face it: that ship has sailed
  • 4 stars: “Recorded at two sessions in early 1967, Expression represents John Coltrane’s final recording sessions just months before his death. It’s remarkable that [the album] is not some world-weary harbinger of death and sickness, but an endlessly jubilant affair. Even in what must have been a time of tremendous pain and darkness, Coltrane’s single-minded quest for understanding and transcendence took him to places of new exploration and light.”

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