You’ll find outstanding Double Plus (A++) sound on both sides of this MJ classic with some of the most heartfelt, emotional and powerful music he ever recorded
Off the Wall is substantially sweeter, tubier, more natural, richer, more relaxed and more ANALOG than any other Michael Jackson album
We’re constantly blown away by just how good the best copies of Off the Wall sound – what a recording!
Clearly MJ’s best sounding release – 5 stars: “This was a visionary album … part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, and alluring funk.”
As consistently brilliant as Thriller may be musically — it is the biggest selling album of all time after all [scratch that, the Eagles Greatest Hits just took the top spot away from Thriller recently] — speaking strictly in terms of sonics the sound of the best copies of Off the Wall is substantially sweeter, tubier, more natural, richer, and more ANALOG than Thriller.
Thriller is clearly more aggressive and processed-sounding than Off the Wall. The Girl Is Mine or Human Nature from Thriller would fit just fine anywhere on Off the Wall, but could the same be said for Beat It or Thriller? Just thinking about them you can hear the artificiality of the sound of both those songs in your head. Think about the snare that opens Beat It. I’ve never heard a snare sound like that in my life. Practically no instrument on Off the Wall has that kind of overly processed EQ’d sound.
Normally when you have a copy with plenty of presence, it can be somewhat sibilant in places. Sibilance is hardly a problem here. For some reason this copy has all the highs, but it’s cut so clean it practically doesn’t spit at all. Even on the song I Can’t Help It, which normally has a problem in that respect. Since that’s my favorite song on this album, and probably my favorite MJ song of all time, hearing it sound so good was a revelation.(more…)
With two amazing Shootout Winning Triple Plus (A+++) sides, this original pressing has the analog magic in its grooves
We love the All Analog Tubey Magical sound of the recording, especially on a copy as rich and full-bodied as this one
Arguably the best of the solo CSN albums – a founding member of our Top 100 Rock and Pop List and, with grades like these, a True Demo Disc
4 1/2 stars: “From the soaring “I Used to Be a King” through the gossamer “Simple Man” to the wah-wah-laden “Military Madness,” the record is filled with gorgeous melodies, flawless singing, and lyrical complexities that hold up decades later.”
When you hear Chicago here you will not believe how cinematic the sound is! It’s everything we love about analog and then some.
Most of the credit must go to the team of recording engineers, led here by the esteemedBill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best. Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better.
Others (Sleep Song, Wounded Bird) are quiet and intimate. Their subtlety is highlighted by the big productions surrounding them. This is the rare album in which every aspect of the production, from the arrangements to the final mix, serves to bring out the best qualities in the songs, regardless of scale.(more…)
Here’s how we weighed the tradeoffs in the sound of the originals versus that of the reissues, with VTA advice to follow.
This superb sounding ORIGINAL Black Label Contemporary pressing of Benny Carter’s swingin’ jazz quartet is the very definition of a top jazz stereo recording from the late ’50s mastered through an all tube chain.
There’s good extension on the top end for an early pressing, with TONS of what you would most expect: Tubey Magic and Richness. If that’s what you’re looking for, this copy has got it!
We prefer the later pressings in most ways, but this record does something that no later pressing we have ever played can do — get Benny’s trumpet to sound uncannily REAL. If you want to demonstrate to your skeptical audiophile friends what no CD (or modern remastered record) can begin to do, play side two of this copy for them. They may be in for quite a shock.(more…)
Forget the dubby domestic pressings. Like so many British bands on the A&M label, when it came time to master the album for the domestic market, the people in charge (whoever they may have been) took the easy way out and simply ordered up a dub of the master tape to cut the album from.
Spooky Tooth, Procol Harum, Fairport Convention, (my beloved) Squeeze and too many others to think about all had their records ruined by sub-generation masters.
But this is the real British-pressed vinyl from the real master tape, and that makes all the difference in the world.(more…)
Garden Party finally returns to the site after four long years, here with outstanding Double Plus (A++) sound on both sides
This is an incredibly rich, Tubey Magical recording, and when you get a good copy with enough clarity and top end extension to bring it to life it can sound very good indeed
If you like the sound of albums engineered by Stephen Barncard (think Deja Vu, American Beauty and Tarkio for starters) then you are going to find much to like about the sound of this album
“Rick Nelson’s Garden Party rocks a lot harder than the title track would lead one to believe, and is also as much of a showcase for the Stone Canyon Band as it is for Nelson.”
It’s tough to find copies without marks, or ones that play this quietly.
The music is quite enjoyable — even the younger guys around here were getting a lot out of it. Drop the needle on the title track (a top ten single) or “Are You Really Real?” to hear these guys at their best. Rick’s Stone Canyon Band at times featured future members of Poco and The Eagles, so that should tell you something.
Acoustic guitar reproduction is superb on the better copies of this recording. The harmonic coherency, the richness, the body as well as phenomenal amounts of Tubey Magic can be heard on every strum.(more…)
With excellent Double Plus (A++) grades on both sides, this Sinatra title surprised us with its DEMO DISC sound
Clearly one of the better sounding Reprise-era Sinatra pressings we have ever played
Credit must given to the extraordinarily inventive arrangements of Nelson Riddle and the All Tube engineering of Lee Herschberg
“Sinatra’s singing is relaxed, confident, and surprisingly jazzy, as he plays with the melody of “The Most Beautiful Girl in the World” and delivers a knockout punch with the assured, breathtaking “Summer Wind.”
We cannot recommend this pressing highly enough. If you want to know what the best sounding Sinatra records sound like, this is your chance. Folks, in my opinion it simply does not get any better than a killer White Hot Stamper of Strangers In The Night.
These originals are the only way to go for ’60s Sinatra, but finding them in good shape on quiet vinyl is no picnic and only a few of them actually sound the way we want them to. It’s a real treat to be in the presence of the Chairman Of The Board, in his prime, working his magic — but only an exceptional copy like this one has the power to put him right in the room with you.(more…)
A wonderful copy of Carly’s 1976 release, a personal favorite of mine, and this pressing rated Double Plus (A++) grades throughout – exceptionally quiet vinyl too
There’s gobs and gobs of 1976 Tubey Magical Richness courtesy of engineer Donn Landee and producer Ted Templeman
Our pick for the best – and best sounding – Carly Simon album, a Must Own which Rolling Stone called “Carly Simon’s best record.”
She’s got help from a wonderful backing crew including the Doobies and Little Feat, plus Linda Ronstadt, Jackson Browne, Dr. John, and of course good ‘ol JT
There’s one quality in particular that added immensely to our enjoyment of the music — gobs and gobs of Tubey Magic. The copies that were opaque, dry, flat and “modern” sounding — which pretty much describes practically every Heavy Vinyl record we’ve played in the last five years — bored us to tears, not surprisingly in the very same way that most Heavy Vinyl does.
Most copies of the album get Carly’s voice all wrong — gritty, edgy, hard and strained, but not this one. Carly’s singing on this copy is smoother, sweeter, more immediate and clearly more emotionally compelling than we heard on most of the other copies in our shootout. The music seems to come to life right in front of you, right there in your very own listening room.
This is 1976, they were still making good records then. You would hardly know it by playing the average pressing of the album, but when you hear one like this, there is no mistaking the richness, sweetness and freedom from artificiality that must be on the tape, qualities for which good tube equipment is rightly revered. (We no longer use tube equipment ourselves, preferring to be guided by the approach of reproducing the Tubey Magic of the records we play unadorned.)(more…)
An outstanding vintage Columbia pressing, earning solid Double Plus (A++) sonic grades on both sides
Lively, balanced and vibrant, with a healthy dose of the Tubey Magical richness these recordings need in order to work
Listen to how breathy Jim (later Roger) McGuinn’s vocals are – his vocals are key to the better sounding Byrds records
5 stars: “One of the greatest debuts in the history of rock … nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat.”
Tubey Magic? This copy has a healthy dose of it on both sides.
Want to hear exactly what I’m talking about? Play Chimes of Freedom, one of the best sounding tracks on side two, if not THE best. Listen to how breathy Jim (later Roger) McGuinn’s vocals are. Byrds records almost never sound like that.
I Knew I’d Want You is another one that sounds amazingly Tubey Magical on the best pressings.
By the time you get to track two on side one you’re hearing one of my favorite Byrds song of all time: I’ll Feel A Whole Lot Better. It’s energetic and very present on this copy.
Notice that Gene Clark’s vocals usually sound better than Roger McGuinn’s. For some reason they tend to brighten up his vocals, and the last thing you ever want to do with a Byrds recording is make it brighter. But having said that, most of the reissues are too thin and bright compared to the best originals.(more…)
KILLER sound throughout with both sides earning Shootout Winning Triple Plus (A+++) sonic grades
These vintage stereo sides are As Good As It Gets — rich, smooth and full-bodied with wonderfully present vocals and all of the Tubey Magic that’s missing from most copies
This album is very tough to come by in stereo in anything but beat condition, let alone with this kind of sound
“Twelve of the most uninhibited Sinatra things ever recorded!”
“Recorded with Billy May, Sinatra Swings was Frank Sinatra’s first straight swing album for Reprise Records. In terms of content and approach, the record is remarkably similar to his final Capitol swing effort, Come Swing with Me.”
Also known as Sinatra Swings.
Five for Five in 1961
Of the five records Sinatra released in 1961 (Sinatra’s Swingin’ Session!!!; Come Swing with Me!; Ring-a-Ding-Ding!; Swing Along with Me; and I Remember Tommy), this is clearly one of our favorites. (And by the way, what’s with all the exclamation marks?)
Billy May deserves much of the credit for the “swing” that’s all over the album. His band is jumpin’, and on the best pressings — such as this one — the sound conveys the energy with virtually none of the grit and hardness you hear on so many of Sinatra’s other albums (Sinatra at the Sands comes immediately to mind, but there are far too many others). You may recall that Billy May was the arranger for some of Sinatra’s best Capitol work, and certainly the three swingingest: Come Fly with Me, Come Dance with Me and Come Swing with Me.
This is 1961, and tubes and ribbon mics are in charge of the live-in-the-studio proceedings. With a vintage original pressing such as this one, you hear the kind of sound they heard. (And if you play the record at ear-splitting levels you will hear even more of that sound. Can you imagine how loud this band was playing?)
We were especially impressed with the large dynamic swings of the arrangements. And the fact that the best pressings never get aggressive even during their most dynamic passages.(more…)
Want to hear what the best copies of Mr. Tambourine Man can do? Play Chimes of Freedom, one of the best sounding tracks on side two, if not THE best. Listen to how breathy Jim (later Roger) McGuinn’s vocals are. Byrds records almost never sound like that.
I Knew I’d Want You is another one that sounds amazingly Tubey Magical on the best pressings.(more…)