The sound of the best pressings of The Beatles — when cleaned with the Walker Enzyme fluids on the Odyssey machine — are truly revelatory.
So much of what holds their records back is not bad mastering or poor pressing quality or problems with the recording itself. It’s getting the damn vinyl clean. (It’s also helpful to have high quality playback equipment that doesn’t add to the inherent limitations of the recordings.)
Know why you never hear Beatles vinyl playing in stereo stores or audio shows? (Love doesn’t count; give me a break.)
Because they’re TOO DAMN HARD to reproduce. You have to have seriously tweaked, top-quality, correct-sounding equipment — and just the right pressings, natch — to get The Beatles’ music to sound right, and that’s just not the kind of stuff they have at stereo stores and audio shows. (Don’t get me started.)
Frampton’s first solo album, Wind of Change, was recorded by the well-known engineer Chris Kimsey, who worked with the Stones and others too numerous to mention. To say that the sound of his albums varies considerably would be the understatement of the year. The first album (British only, FYI) is as rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).
I unashamedly confess to being a huge Frampton fan to this very day. Wind of Change has been a Desert Island Disc for me ever since I picked up my first copy while still in high school. I bought the first Frampton album as soon as it came out, probably based on a magazine review. Think I paid $3.08 for it; that was the discount price for an album at the little record store I frequented back in those days. It was in Leucadia, CA, not far from where I went to high school.