- Stunning sound for this original Elektra Gold Label pressing with both sides earning Shootout Winning Triple Plus (A+++) grades and playing as quietly as these early pressings ever do
- This is a SHOCKINGLY well recorded album, full of Tubey Magic and as relaxed, smooth and natural as any record from 1968 has a right to be
- 4 1/2 stars: “It never got any better than this… 13 all-but-perfect tracks… this is a finer rural/rock fusion album than Sweetheart of the Rodeo, the first Flying Burrito Brothers album, or the Beau Brummels’ efforts during this same period, and an indispensable part of any collection of ’60s music.”
- Stunning Shootout Winning Triple Plus (A+++) sound or very close to it on both sides of this incredible Discwasher Direct-to-Disc Japanese import pressing
- One of our all time favorite Direct-to-Discs; Piano Trio doesn’t get much better than this
- Paul Smith is an underrated jazz player – most of his albums as a leader are forgettable (we should know, we’ve played a bunch of them), but on this album he swings and really makes music with his two bandmates
- The playing is extremely energetic and involving, the sound is some of the best we’ve heard, and the engineering is by Phil Schier, who also recorded another favorite direct disc of ours, Friendship, and we recommend both albums highly
- If you want a good jazz Direct-to-Disc, you would be hard pressed to find one better than this
- If you’re a fan of Live Jazz Piano Trio recordings, recorded direct to disc or otherwise, this is a killer record from 1978 that belongs in your collection.
- The complete list of titles from 1978 that we’ve reviewed to date can be found here.
This record probably doesn’t have the reputation it deserves because it came out on the Discwasher label, which to my knowledge, only made one good record, this one. The same metalwork would have been used to make the version Pausa released, and that fairly common pressing may be virtually identical to this Discwasher pressing. (more…)
- This pressing had the sound we were looking for – it’s clear, rich and natural, with not a trace of “modern mastering” (thank goodness)
- The title track spent three weeks at Number One on the charts back in ’65 – it’s a True Soul Classic
- 4 1/2 stars: “Towering above it all, though, is Milton’s powerful voice: a solid combination of gospel intensity and fluid phrasing that sprang from Roy Brown, moved through B.B. King, and found its way to both Bobby Bland and Milton, among others.” (more…)
- Washington’s sophomore release finally returns to the site with STUNNING Shootout Winning Triple Plus (A+++) sound on both sides
- There’s so much life in these grooves – the sound jumps out of the speakers right into your lap
- Credit must go to Rudy Van Gelder for recording and mastering this album so well, and to Bob James for his brilliant big group arrangements
- We cannot recommend this album highly enough – if you have the big speakers a big group of musicians need to perform live in your listening room, his record is going to be nothing less than a thrill
- 4 stars: “. . . this set has assumed its proper place in Washington’s catalog: as one of his more ambitious and expertly performed sessions.”
- If you’re a Grover Washington fan, this is a Must Own Classic from 1972 that belongs in your collection.
- The complete list of titles from 1972 that we’ve reviewed to date can be found here.
Both sides of this original Kudu pressing are OUT OF THIS WORLD. The sweetness and transparency of Grover Washington Jr.’s breathy sax went beyond any copy we’ve ever played. Who knew it could sound like this? We sure didn’t!
It’s spacious and full of life with virtually no distortion. Of special note, this copy has amazingly articulate bass which brings out the undeniable funkiness of the music in a way that no other copy did.
The early ’70s were a good time for Rudy Van Gelder. All the King’s Men from 1973 is an amazing Demo Disc for a large group. But it only sounds good on the copies that it sounds good on, on the pressings that were mastered, pressed and cleaned right, a fact that has eluded most jazz vinyl aficionados interested in good sound.
But not us. We’ve played the very special pressings that prove the album can sound amazing. (more…)
- El Rayo-X finally returns to the site with STUNNING Shootout Winning Triple Plus (A+++) sound or very close to it throughout
- If you’re looking for deep punchy bass, crashing dynamics, silky sweet vocal harmonies, grungy slide guitars, tons of ambience, and super low distortion sound, this is the copy for you
- Engineered in 1981 by Greg Ladanyi, the very next year he would take home the Best Engineering Grammy for Toto IV (one helluva good sounding album and a former member of our Top 100)
- 4 1/2 stars: “One of the greatest rock music albums of its time. Fabulous.”
- If you’re a fan of the man, this is a classic from 1981 that belongs in your collection (and the only record of his that does).
- The complete list of titles from 1981 that we’ve reviewed to date can be found here.
This superb Asylum original LP is a real DEMO DISC — if what you are trying to demonstrate is how BIG and BOLD a good old-fashioned analog recording can sound.
After hearing Lindley’s white-bread session playing on ’70s albums by Linda Ronstadt, Jackson Browne, et al., you might think the man must have a stick up his butt. His solos just never seem to let loose or get loose, and they rarely rock. Mercury Blues is proof positive that he can rock like a wild man when he wants to. On this album, perhaps for the first time, he really does seem to want to.
The sound on this record is so punchy and dynamic, the rest of your rock records should seem positively anemic in comparison. Most of it sounds live in the studio, and live in the studio is how you get a bunch of guys to play with this kind of enthusiasm and energy.
Engineered in 1981 by Greg Ladanyi, the very next year he would take home the Best Engineering Grammy for Toto IV (one helluva good sounding album and a former member of our Top 100).
Fortunately for us audiophiles, this album catches him before the overly-processed, digital drums and digital echo “sound of the ’80s” had gotten into his blood. (Just play any of the awful Don Henley records he made to hear what we mean.) This record still sounds ANALOG, and even though it may be 1981 and mostly transistorized, the better copies display strong evidence of TUBES in the recording chain. (more…)
- Philippe Entremont’s delightful 1967 release returns with superb sound on both sides
- It’s solid and weighty like no other, with less smear, situated in the biggest space, with the most energetic performances
- These sides are big, full-bodied, clean and clear, with a wonderfully present piano and plenty of 3-D space around it
- Some old record collectors (like me) say classical recording quality ain’t what it used to be – here’s all the proof anyone with two working ears and top quality audiophile equipment needs to make the case
- Dynamic, huge, lively, transparent and natural – with a record this good, your ability to suspend disbelief requires practically no effort at all
- With Tubey Magical Stereoscopic presentation like you will not believe – this copy is spacious, sweet and positively dripping with ambience
- The driving, syncopated, heavily percussive arrangements add immensely to the fun, with the timbre of every scratcher and drum rendered in glorious Technicolor sound
- This is Vintage All Tube Analog at its best – the magic hidden in the grooves of the record really comes through on this pressing.
This SUPERB sounding copy of Prez has a lot in common with the other Living Stereo / Exotica titles we’ve listed over the years, albums by the likes of Henry Mancini, Esquivel, Arthur Lyman, Dick Schory, Edmundo Ros, Ted Heath, Martin Denny and a handful of others. Talk about making your speakers disappear, these records will do it! (more…)
- Baja Marimba Band returns with this superb copy of Rides Again, boasting Double Plus (A++) sound on both sides and vinyl that is about as quiet as we can find it
- We guarantee there is dramatically more space, richness, vocal presence, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
- If you are familiar with other top recordings released by A&M engineered by Larry Levine, the killer Herb Alpert and Sergio Mendes albums just to mention a few, you know the sound of Rides Again
- Super tubey, with low end weight and performance energy that leave most other records from 1965 in the dust
Larry Levine was the resident engineering genius at A&M Records, the man responsible for many of the best sounding Sergio Mendes albums. What most people don’t realize is how good the best Herb Alpert recordings are, as well as the ones Herb produced, such as the second Baja Marimba Band album here.
The reason is simple: most of the A&M pressings out there only hint at the wonderful recording quality of these albums.
This is an honest-to-goodness Demo Disc. When for a (thankfully) brief time back in the ’70s I was selling audio equipment, the song “Pentangling” was a favorite demo cut to play in the store. The sound of the string bass and snare drum are amazingly natural; I don’t know of any other pop album from the era that presents the vibrant timbre of those two instruments better.
The Transatlantic British originals can be quite good as well, but are very tough to come by in good condition these days, and pricey when you find them. This record easily qualifies for our Top 100 List, it’s that good (but unfortunately too rare to make the cut).
The Best Sides
The true foundation of the music is provided by two legendary guitar heavyweights, Bert Jansch and John Renbourn. With Jacqui McShee’s almost unbearably sweet vocals soaring above them, this album presents the classic lineup at its best, with superior sonics to boot.
The unprocessed folky sound found throughout the album has its audiophile credentials fully in order, especially in the area of guitar harmonics, as well as drums that sound like real drums actually sound. (How many of the ’70s rock albums in our Top 100 have that natural drum sound? Not many when you stop to think about it.) (more…)
- With a Triple Plus (A+++) side two and a better than Double Plus (A++ to A+++) side one, here’s a copy that’s practically as good as it gets
- This fun, lively, superbly well-recorded 1961 release is a real SLEEPER of Demo Disc Quality West Coast Jazz
- Huge, spacious, clear, Tubey Magical, natural and above all REAL, this copy blew our minds when we stumbled on it in our shootout
- 4 Stars: “High-quality and consistently swinging West Coast jazz … this was the initial album to gain wide recognition and helped to introduce the L.A.-based trumpeter’s talents to the East Coast.”
This is a wonderful example of the kind of record that makes record collecting FUN.
If you large group swinging West Coast Jazz is your thing — think Art Pepper Plus Eleven — you should get a big kick out of this one.