A distinguished member of the Better Records Orchestral Music Hall of Fame.
Side one contains one of the most famous and sought-after pieces of music in the entire Living Stereo catalog, the wonderful Faust Ballet Music that takes up side one of LSC 2449. (The Carmen that makes up side two of the original Shaded Dog has never impressed us sonically. There are so many better recordings of the piece, the Ansermet recording on London being one of the best.) (more…)
A distinguished member of the Better Records Orchestral Music Hall of Fame.
Released as Romantic Russia by Decca in 1967, this London can also be found with a different cover and a different catalog number, CS 6503.
DEMO QUALITY SOUND on side one — in some ways. Don’t go looking for the Tubey Magic of an earlier era. What you get instead is super-low distortion, full-bandwidth sound with deep powerful bass and more transparency than most later Londons.
Solti is clearly the man for this music! He’s on fire with this fiery material. THIS is the way you want to hear Russian Orchestral Showpieces — played with verve and dynamically ALIVE. (more…)
Sonic Grade: C?
A decent Speakers Corner Decca.
The Speakers Corner heavy vinyl reissue of this title is not bad, but like all reissues it lacks the weight found on the originals. I remember it being a little flat and bright. I haven’t played it in years so I could easily be wrong. The glorious sound I hear on the best pressings is not the kind of thing I hear on 180 gram records by Speakers Corner, or anybody else for that matter. (more…)
Harry Pearson put this on his list of the best Classic Records RCAs.
If you can reverse your absolute phase this record actually sounds fairly decent. Do you think Harry knows to do that, or even how to do it? I have my doubts. [He’s gone now so the point is moot, but I maintain it’s the rare reviewer who grasps these kinds of issues with anything approaching the depth and understanding required to be informative and accurate.)
Sonic Grade: F
Another MoFi LP debunked.
A well-known reviewer has many kind things to say about this pressing, but we think it sounds like a hi-fi-ish version of a ’70s London, which means it’s opaque and the strings are badly lacking in Tubey Magic.
The bass is like jello on the MoFi, unlike the real London which has fairly decent bass.
MoFi had a bad habit of making bright classical records. I suppose you could say they had a bad habit of making bright records in general. A few are dull, some are just right, but most of them are bright in one way or another. Dull playback equipment? An attempt to confuse detail with resolution? Whatever the reasons, the better and more accurate your equipment becomes, the most obvious this shortcoming will be. My tolerance for their phony EQ is at an all time low. But hey, that’s me. (more…)
A distinguished member of the Better Records Orchestral Music Hall of Fame.
This Minty looking RCA Living Stereo LP has AMAZING SOUND. It’s everything a Living Stereo record should be — warm and rich with lots of depth and silky highs. The lower strings on this record are hands down some of the best I’ve ever heard. They’re so rich and textured. Out of all the Decca recorded RCAs I’ve had the pleasure (or misfortune as the case may be!) of listening to, this is definitely one of the top dogs.
If this record were quiet it would easily fetch $300; unfortunately that ain’t the case. The only reason we’re offering this copy for sale is because the sound — and the music — are OUT OF THIS WORLD!
This White Hot Stamper pressing has DEMO QUALITY sound of the HIGHEST ORDER on fairly quiet vinyl no less. We’ve long considered the album one of the greatest of all the Decca / London recordings, but this pressing takes the sound beyond even our high expectations.
There is simply nothing in the sound to fault. Where is the slightly dry and midrangy quality in the upper strings that so many Londons from this era suffer from? It’s nowhere to be found on this side one. And it’s not as though our stereo was hiding that quality, because some of it creeps into the sound on this very side two (which is why it earned a slightly lower grade of A++). (more…)
A distinguished member of the Better Records Orchestral Music Hall of Fame.
This London Whiteback pressing (CS 6578) has SHOCKINGLY GOOD sound; in many ways it deserves to be called a Demo Disc. It has at least one quality that one virtually never hears on an audiophile reissue: a smooth, natural top end. This record only sounds correct and “real” at louder volumes, in the same way that a live orchestra often sounds a bit lifeless in the quiet passages, only to get exciting, big and powerful when the score calls for it. For this to happen on record you need real dynamics and tonal neutrality. (more…)
A distinguished member of the Better Records Orchestral Music Hall of Fame.
This London Whiteback LP recorded in 1967 (CS 6503) has DEMO QUALITY SOUND on side two. Solti is the man for this music! He’s on fire with this fiery material and the London engineers do him full justice — at least they do on side two. (Side one has a long scratch and cannot be played.)
Don’t go looking for the Tubey Magic of an earlier era. What you get instead is super low distortion, full bandwidth sound with deep powerful bass and lovely transparency. THIS is the way you want to hear Russian Orchestral Showpieces — played with verve and dynamically ALIVE.
The Polovtsian Dances on side two sound as dynamic and powerful as any I know. (more…)
I attended this Dec. 2013 concert; it was a thrill like no other. (Well, maybe The Planets.)
“Guest conductor Rafael Frühbeck de Burgos’s attention to detail delivers the razzle dazzle and also discovers renewed radiance in ‘Scheherazade.'”
We did a monster shootout for this music in 2014, one we had been planning for more than two years. On hand were quite a few copies of the Reiner on RCA; the Ansermet on London (CS 6212, his second stereo recording, from 1961, not the earlier and noticeably poorer sounding recording from in 1959); the Ormandy on Columbia, and a few others we felt had shown potential.
The only recordings that held up all the way through — the fourth movement being THE Ball Breaker of all time, for both the engineers and musicians — were those by Reiner and Ansermet. This was disappointing considering how much time and money we spent finding, cleaning and playing those ten or so other pressings. (more…)
