This VERY RARE 2 LP Shaded Dog pressing has Super Hot Stamper sound. Much of what’s good about Golden Age recordings is heard here, with side one for example having the sound of a HUGE hall and that Three-Dimensional quality that the best vintage recordings are able to convey so well.
We constantly knock Heavy Vinyl here at Better Records for the simple reason that we play vintage recordings such as this by the score every month and can hear what they do so well. Unfortunately the huge hall and the 3-D soundstaging they effortlessly reproduce cannot be found on any Heavy Vinyl pressing we know of.
Such qualities allow this record to sound — in some ways, to be sure not all — like live music. Heavy Vinyl just plain doesn’t.(more…)
You can feel the cool air in the hall! Some audiophiles buy organ records to show off their subwoofers. Records like this can do that but records this good have musical qualities far beyond simple demonstrations of bass reproduction. Karl Richter understands this music perfectly and makes it come alive in a way I’ve never heard any other musician.(more…)
This is an EXCEPTIONALLY GOOD SOUNDING Shaded Dog pressing with fairly quiet vinyl. What’s surprising about this is how transparent and low distortion it is. Just as with Destination Stereo (LSC 2307), the excerpts here frequently sound better than they do on the original complete performances. Rubinstein’s piano is solid and clear sounding, which is rarely the case, especially for his Beethoven concertos. Those almost never sound good, but the excerpt here for Concerto #3 is excellent.
This recording was released through Mercury, recorded by Robert Fine and Wilma Cozart, mastered by George Piros, the legendary Mercury team of renown. It is instructive to note that the Philips mastering is dramatically superior to the mediocre Mercury mastering, which may strike you as counterintuitive, but is nonetheless a fact. It’s precisely the reason we play records all day here at Better Records. You can’t judge a record by its credentials. The only way to know how it sounds is to play it, and to really know how it sounds you must play it against a sizeable number of other copies.
Then, and only then, can you talk knowledgeably about the sound. (Note to forum posters: this means you.)(more…)
This Super Hot Stamper solo piano record is 1963 Decca recording technology at its finest (or would be if we had ten copies to shoot out and could find the White Hot Stamper pressing hidden among them). As it is, we are happy to have found this one, Super Hot on both sides, an amazingly realistic representation of a piano. You will have a hard time finding better.
And the music, especially on side two, is compelling and wonderful. This is classical music that will engage you at the deepest and most serious level. Widely considered Liszt’s masterpiece, in Curzon’s forceful hands it is not hard to understand why.
A++ Super Hot Stamper sound, with a clear piano surrounded in space. Present and dynamic, there is little to fault here, save a touch of smear and a slight lack of weight. (Real pianos in live recitals have weight that I have never heard reproduced by any stereo system, so “real weight” is a relative term, one that applies more to recordings than to the live instrument itself).(more…)
This A++++ Beyond White Hot Stamper 2-pack has sound that must be experienced to be believed! The finest Liszt 1st & 2nd Concertos we know of for performance and unquestionably for sound when they sound like this. More like LIVE MUSIC than any classical recording I have played in longer than I care to remember – both sides are so big, rich and transparent we guarantee you have never heard a better piano concerto.(more…)
This London UK pressing (not the Decca as shown in the picture) from 1967 has Hot Stamper sound on both sides. Some of what we’ve always liked about Decca/London from the period (mid- to late-’60s, in this case 1967) can be heard on this pressing: transparency; the texture on the strings; the natural timbre of the instruments.
These London pressings are quite hard to find in our experience. The music is wonderful throughout, perhaps the reason that so few of these have found their way to the record bins here in L.A. (more…)
This RCA Living Stereo White Dog LP has SUPERB SOUND!
I’m a big fan of this title. The string tone is rich and dark and just wonderful. If you want an exciting record with outstanding Living Stereo sound — dynamic, with strings to die for, and an energetic performance, this is the one! Don’t let the White Dog fool you. I doubt if the average Shaded Dog is any better. This record sounds just right to me. Listen to how clear and correct the triangle is. (more…)
The lower strings are wonderful on the original — wall to wall, with that rosiny texture we love. I wrote at the time — this is twenty or so years ago — that the Classic pressing took that rich, dark sound and brightened it up, naturally ruining it in the process. Cellos and double basses just don’t sound like that. On the best pressings of LSC 2471 their timbre is Right On The Money. Of course, that’s is the real thing, not some audiophile rebutchering.
Now if you’re a Classic Records fan, and you like that brighter, more detailed, more aggressive sound, the original is probably not the record for you.
We don’t like that sound and we don’t like most Classic Records. They may be clean and clear but where is the RCA Living Stereo Magic that made people swoon over these recordings in the first place? Bernie manages to clean that sound right off the record, and that’s just not our idea of high-fidelity, sorry.(more…)
This pressing has Beyond White Hot Stamper (A++++) sound on both sides – sound that must be experienced to be believed! – relatively quiet vinyl too
The finest Liszt 1st and 2nd Piano Concertos we know of for their performances, and unquestionably for sonics (when the sonics are this good!)
More like LIVE MUSIC than any classical recording I have played in longer than I care to remember
So big, rich and transparent we guarantee you have never heard a better piano concerto recording – this is a game changer, the first time a single pressing of the album has earned grades these high on both sides
NOTE: *Unlike Concerto No. 1, The Second Piano Concerto opens very quietly, so there will likely never be a vintage pressing of the album that will get that opening to play like a CD. Expect to hear some random ticks, a small price to pay to hear this wonderful performance on top quality analog.
Please note: we award the Four Plus (A++++) grade so rarely that we don’t have a graphic for it in our system to use in the grading scale shown above. We rarely find records with this kind of sound, just a few times a year at most — this is the only one on the site at this time. (more…)