***Bad Sounding Audiophile Records – The Complete List

Paganini / Violin Concertos 1 & 2 – Where Is the Outrage?

The Music of Paganini Available Now

Album Reviews of the Music of Paganini

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Had I paid good money to buy this pressing in the hopes of hearing the supremely talented Yehudi Menuhin of 1961 tear it up on Paganini’s legendary first two concertos, I can tell you one thing: I would be pissed.

Where is the outrage in the audiophile community over this kind of trash? I have yet to see it. I suspect I will grow quite a bit older and quite a bit greyer before anyone else notices just how bad this record sounds. I hope I’m proven wrong.

Screechy, bright, shrill, thin and harsh, it’s hard to imagine worse sound from this piece of Heavy Vinyl trash.

NO warmth. NO sweetness. NO richness. NO Tubey Magic. In other words, NO trace of the original’s (or the early reissue’s) analog sound. I may own at most one or two classical CDs that sound this bad, and I own quite a few. I have to wonder how records this awful get released. Then again, the Heavy Vinyl Buyer of today is not known for his discrimination; if he were Sundazed and Analogue Productions would have gone out of business many years ago. (more…)

Gino Vannelli / Powerful People – What Was I Thinking?

More Gino Vannelli

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Sonic Grade: F

At the time of our last shootout in 2014 I still had the MoFi pressing of Powerful People in my personal, very small (at this point) record collection. Almost all the best sounding records from my collection had long ago been sold off, going to good homes that I can only assume would play them more than I had in the last ten years. If it’s a record you see on our site, chances are good I have listened to it until I’d practically turned blue in the face.

But I had kept my Powerful People half-speed these 30+ years because the domestic pressings I’d played were just too damn midrangy to enjoy. At least the MoFi had bass, top end and didn’t sound squawky or hard on the vocals.

Well, let me tell you, played against the best domestic pressings, of which this is one, the MoFi is laughable. (In that respect it shares much with the current crop of audiophile reissues.) It’s unbelievably compressed, a problem that is easily heard on the biggest, most exciting parts of the tracks — they never get remotely as big or as loud on the MoFi as they do on the lowly A&M originals. (more…)

Rachmaninoff / Piano Concerto No. 3 – Speakers Corner Remasters a Classic Mercury, Part One

More Sergei Rachmaninoff (1873-1943)

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This commentary was written in 2004. We carried Heavy Vinyl back then, and for that I would like to apologize. Like the audiophiles of today, at the time I thought I knew a great deal more about records and their proper reproduction than I actually did.

Yes, I admit it: I suffered from the Dunning-Kruger effect. There is one very powerful benefit that I gained from being so mistaken. Having experienced it myself, the signs that you think you know more than you do are very easy to spot in others.  If you want to see the effect firsthand, go to any audiophile forum and start reading any thread you find there. It would be hard to miss.

Some thoughts on the new 180 gram Mercury reissues by Speakers Corner and a bunch of other record related stuff.

The Absolute Sound weighed in with their view of the series:

Speakers Corner has given these recordings the respect they deserve. The packaging is gorgeous: a black album titled “The Living Presence of 20th Century Music” and displaying the Mercury logo holds the three records with their original covers and liner notes. In addition, there are informative annotations on the music and Dorati, and a history of Mercury Living Presence…They sound at least as good and in some ways better than the originals…There are no negatives and not enough superlatives to describe these magnificent reissues. It’s rare that performance, sound, and musical value combine at this level in a recording.

Arthur B. Lintgen, The Absolute Sound, February/March 2004

Let me start by saying that I have not listened to a single one of the new Mercury titles.

Now that that’s out of the way, let me state for the record that the chances of the above statements as quoted in TAS being true are so close to zero that they cannot be calculated by anything but the latest Cray computer.

Has Speakers Corner produced a single classical record that’s better than a good original pressing? One or two. Maybe. So what are the chances they did so with these? Almost none I would say. (more…)

Led Zeppelin II – Stan Ricker Versus Robert Ludwig

Yet another album we are clearly obsessed with

Click on the link below to pull up the many reviews and commentaries we’ve written

Reviews and Commentaries for Led Zeppelin II

More Led Zeppelin

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Here is the story of my first encounter with a amazing sounding copy of Zep II.

I had a friend who had come into possession of a White Label Demo pressing of the album and wanted to trade it in to me for the Mobile Fidelity pressing that I had played for him once or twice over the years, and which we both thought was The King on that album.

To my shock and dismay, his stupid American copy KILLED the MoFi. It TROUNCED it in every way. The bass was deeper and punchier. Everything was more dynamic. The vocals were more natural and correct sounding. The highs were sweeter and more extended. The whole pressing was just full of life in a way that the Mobile Fidelity wasn’t.

The Mobile Fidelity didn’t sound Bad. It sounded Not As Good. More importantly, in comparison with the good domestic copy, in many ways it now sounded wrong.

Let me tell you, it was a watershed moment in my growth as a record collector. I had long ago discovered that many MoFi’s weren’t all they were cracked up to be. But this was a MoFi I liked. And it had killed the other copies I had heard in the past.

So I learned something very important that day. I learned that hearing a good pressing is the best way to understand what’s wrong with a bad pressing. (more…)

Dear Audiophiles: The Wall Sounds Terrible on this Japanese “Audiophile” Pressing

Pink Floyd Hot Stamper Pressings Available Now

Letters and Commentaries for The Wall

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This Japanese Import is one of the dullest, muddiest, worst sounding copies of The Wall we have ever played. It is clearly made from a second generation tape (or worse!).

And somehow this pressing, or one very much like it, ended up as on the TAS Super Disc List. I would hope that the copy Harry played sounded a whole lot better than this one.

And the CBS Half-Speed is every bit as bad!

How is it that the worst sounding pressings are so often marketed to audiophiles as superior to their mass-produced counterparts? In our experience, more often than not they are just plain awful, inferior in every way but one: surface quality.

Dear Audiophiles, stop collecting crappy audiophile pressings with quiet vinyl and just switch to CD already.

(more…)

Steely Dan – Katy Lied – A MoFi that Beggars Belief

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Sonic Grade: F

A Hall of Shame pressing and another MoFi LP debunked.

By the time I was avidly collecting Mobile Fidelity records in the late ’70s this title had already gone out of print, one of the first to do so. My guess is that even the cloth-eared audiophiles at MoFi knew when they had a turkey on their hands and mercilessly put this one out to pasture. Yes, the sound is so bad that even MoFi could hear it. 

Compressed and lifeless as the screen speakers so popular at the time, it’s hard to imagine any version sounding worse than this one.

And yet I continued to play my copy, for enjoyment of course, oblivious — I must have been oblivious, right? — to the bad sound. (more…)

Stevie Ray Vaughan Box Set – One Customer’s Take on the Analogue Productions 45 RPM Remaster

A good customer bought some SRV Hot Stampers from me a while back. He then told me he was going to spend $400 on the AP SRV Box Set

Hey Tom,

For kicks on this issue of heavy vinyl vs. hot stampers, I’m tempted to order the ‘Texas Hurricane’ box set — 45rpm, 200g etc. — and shoot it out against the SRV records I’ve got from you.

Would you be interested to know how that goes?

In the admittedly unlikely event that the heavy vinyl smoked the hot stampers, would you take them back? Easy to sell the heavy vinyl on without losing money, but not so much the hot stampers.

Just an idea… I’m delighted with what I have from you, but so curious to learn more by comparing etc. Could be fuel for a cool blog post in due course…

CF

I replied:

Oh, I think you are in for quite a shock, and of course we would take our copies back, but I would give you very good odds that that will
never happen as long as you have two working ears.

A few weeks go by.

Tom,

So the results are in … after listening to Texas Hurricane (at 45rpm) and comparing to the White Hot Stamper versions of the same albums I can say… as a musical experience it’s incomprehensible. It just doesn’t rock, doesn’t uplift, and it’s veiled, so you lose the whole meaning of this music, the energy, soul, life.

I wasted $400 to find this out. Any chance you have another customer who’d like to relieve me of it to do their own shootout?

I’ll never doubt you again : )

CF

Good to know you will never doubt me again! Always think back to the sour taste in your mouth and the painful throbbing in your brain from playing this heavy vinyl garbage and perhaps you will never be tempted again. If you feel the urge to cross over to the dark side, please email me and I will do my best to talk you out of it. That way lies madness (and audio frustration).

TP

Here’s the $32,000 Question

Is this a bad sounding record? I don’t know, never played it. Is it worth it to you to spend $400 to find out? Does Analogue Productions have a pretty good track record to rely on in these matters? Or are they, as I have been saying since 1995, one of the worst labels of all time. In another commentary I wrote: (more…)

Vince Guaraldi – A Bloated Mess at 45 RPM from Acoustech

More Bad Sounding Pressings from Analogue Productions

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We played an amazing Hot stamper copy that got the bottom end on this album as right as we’ve ever heard. The contribution of the bass player was clear and correctly balanced in the mix, which we soon learned to appreciate was fundamentally important to the rhythmic drive of the music.

The bass was so tight and note-like you could see right into the soundstage and practically picture Monte Budwig plucking and bowing away.

This is precisely where the 45 RPM pressing goes off the rails. The bloated, much-too-heavy and poorly-defined bass of the Heavy Vinyl remaster makes a mess of the Brazilian and African rhythms inherent in the music. If you own that $50 waste of money, believe me, you will not be tapping your foot to Cast Your Fate to the Wind or Manha de Carnival.
(more…)

Axis: Bold As Love – More Heavy Vinyl Trash from Classic Records

More Jimi Hendrix

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Sonic Grade: F

One of the worst things the dummies at Classic ever did. Flat and dry with no Tubey Magic whatsoever. It positively screams “CHEAP REISSUE.” That description reminds me of this record, although to be fair the sound is quite a bit worse on the Hendrix.

MORE CLASSIC RECORDS REVIEWS

Classic Records – Classical (26)

Classic Records – Jazz (11)

Classic Records – Rock and Pop (45)

and here is the most important section of them all, one that might help you avoid wasting lots of money on audiophile records that don’t sound good:

Bad Sounding Audiophile Records – The Complete List (272)

Zep II – With Trees This Ugly, What Grade Should You Give the Forest?

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[This commentary was written in around 2014 when this pressing came out.]

We herein offer some rather interesting observations by a well known writer about the new Heavy Vinyl Led Zeppelin II that’s just come out. They are in no particular order and clearly taken out of context — we’re not even providing the reference to the specific song under discussion. Some you can guess; as for the rest, what difference, at this point, does it make?

Allow us to present: The Trees

the spatial presentation seemed meek

individual cymbal hits in that psychedelic break lacked sparkle

instead of an interruption eruption the changeover was anything but abrupt

overall musical intent wasn’t being fully communicated

(more…)