This exceptionally rare early London pressing features Double Plus (A++) sound or BETTER and includes a wonderful performance of the Saint-Saens Violin Concerto No. 3
This is a spectacular recording – it’s big, clear, rich, dynamic, transparent and energetic, and is guaranteed to put to shame any Heavy Vinyl pressing of orchestral music you own
Campoli brings his warmth, feeling, and technical precision to these classical masterpieces
The Decca engineers captured the correct amount of detail in the bowing and fingering – it’s not overdone as it is in so many records that many audiophiles prefer, with the mics much too close to the strings
This is a WONDERFUL sounding violin concerto recording. It has TUBEY MAGIC as well as MUSIC to die for. What”s most interesting about the sound is how well the violin is integrated into the orchestra. On most RCAs, just to pick one golden age label to use as an example, the violin is typically hugely oversized and placed far in front of the orchestra. Not so here. The violin is of a whole with the orchestra, which makes for a much more natural and relaxed presentation.
The orchestra is a bit compressed, something engineers of the day were fond of doing. The violin tone however, as well as its dynamic contrasts, are PERFECTION. This is a Decca recording and the keyword here is NATURAL. So musical and involving too. All in all a lovely record.(more…)
These are just some of the recordings of the music of Saint-Saens that we’ve auditioned and found wanting. Without going into specifics we’ll just say these albums suffer from poor performances, poor sound, or both, and therefore do not deserve a place on our site, in your collection, and may even belong in our Hall of Shame.
A Free Service provided to the Audiophile Public, courtesy of Better Records.
This London LP has a very good A+ to A++ side two. Lively and not too bright with nice space and clarity, the Jeux D’Enfants is very enjoyable. Le Rouet D’Omphale (the Spinning Wheel) which follows is even better! Natural and dynamic with rich strings, the tonality is wonderfully balanced.
Performed with the Paris Conservatory Orchestra under Jean Martinon, this record also features Bizet’s Jeux D’Enfants and Saint-Saens’ Danse Macabre and Le Rouet D’Omphale.
Side one, unfortunately, is not up to the same standard. Both sides, of course, have been through our exensive cleaning process and should sound substantially better than average.
Yet another murky, smeary Audiophile Piece of Trash from the mastering lathe of the formerly brilliant Doug Sax. He used to cut the best sounding records in the world. Then he started working for AP and to my knowledge hasn’t cut a good sounding record since.
For those of us who remember his consistently superb work in the ’70s, we sadly note that he passed away in 2015. I was honored to have met him a few years back at a Chopin concert performed by Lincoln Mayorga.
I found both he and Lincoln to be gentlemen and artists of the highest caliber. Needless to say, this Klavier is not the kind of record that he would want to be remembered by.
On this record, in Doug’s defense it’s only fair to point out that he had only dub tapes to work with, which is neither here nor there as these pressings are not worth the dime’s worth of vinyl used to make them.(more…)
This British London pressing is the winner of our recent shootout. We had three London pressings, all the same stamper numbers if I recall correctly, and this is the only copy to have Super Hot Stamper sound on either side. Side one is actually quite nice, with lovely texture to the strings. The sound is transparent and natural, two qualities that are in short supply on most of the recordings Mehta did with the L.A. Phil. in our experience.
We pulled out all the copies of this famous work we could find in the backroom and most of them were just awful. This is not an easy work to record, incorporating as it does an organ with a large orchestra. (I saw the work performed back in 2009 and it was magical. There is nothing like the sound of violins playing high over the organ notes below.)(more…)
Harry Pearson put this recording on his TAS List of Super Disc LPs, and with good reason — the sound is wonderfully relaxed and natural. This is no Hi-Fi Spectacular, as is the case with so many of the records on his list. (Hey, we like our Demo Discs every bit as much as he does; just not the same ones. SR 90006 and LSC 2225 on Classic? Really?)
Side two of this White Dog pressing has Super Hot Stamper sound, and side one is not far behind with a sonic grade of A+ to A++. The richness of the strings, a signature sound for RCA in the Living Stereo era, is displayed here beautifully for fans of the classical Golden Age. It’s practically impossible to hear that kind of string sound on any recording made in the last thirty years. It may be a lost art but as long as we have these wonderful vintage pressings to play it’s an art that will not be lost on us. (more…)
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…)
Side one is White Hot, with some of the best 1959 Living Stereo we’ve ever heard. Explosive dynamics, HUGE space and size, with unerringly correct tonality, this is a Demo Disc like no other. When “in -the-know” audiophiles discuss soundstaging and depth, they had better be talking about a record that sounds like this. Shockingly real – proof positive that the cutting systems of the day are capable of much better sound than we normally assume.
This reasonably quiet RCA Shaded Dog LP has DEMONSTRATION QUALITY SOUND on BOTH sides. It is without a doubt THE best sounding copy we have ever heard*.(more…)
This 1979 London original English pressing of violin showpieces has Super Hot Stamper sound on side two, which came as a bit of a shock to us after playing side one, which is as congested and opaque as one would expect from such a late London recording. Side two is fabulous — full-bodied, rich and sweet. Even though it may have been recorded in 1977, the engineer is Kenneth Wilkinson, and the hall is Kingsway — not many bad recordings can be attributed to either.
But bad mastering or bad pressing quality are surely not the fault of either; when the record doesn’t come out of the oven right, the sound is going to suffer, and the sound on this side one is insufferable all right. But side two is GLORIOUS; it has wonderful music played with the greatest skill and feeling. (more…)
This White Hot EMI pressing has some of the loveliest orchestral music reproduction we’ve ever heard. Man, this copy sure has it going on: it’s super clean and clear, tonally correct from top to bottom, with all of the weight of the orchestra down low on both sides.
If you want a classical record to TEST your system, if you want a classical record to DEMO your system, you will have a hard time finding a better pressing than this very copy.
Debussy – Prelude A L’apres-midi D’un Faune is excellent here as well – it’s a piece we rarely have recordings of on the site.(more…)