- This wonderful collection of rhapsodies finally makes its Hot Stamper debut here with outstanding Double Plus (A++) sound or BETTER on both sides
- One of the best of the Mercury Living Presence Titles – the orchestra is big, rich and tubey, yet the dynamics and transparency are first rate
- Beautifully performed by the London Symphony Orchestra (our favorite performances of these works in fact), under the direction of Antal Dorati
- Other versions — the Oscar Danon we like on RDG, for example — may be faster, but Dorati and the LSO bring an energy and spirit to these pieces that we feel is unequaled on vintage vinyl
- “The playing is flawless… if you like and/or appreciate the music of these composers, your life would be remiss not having heard these performances.”
We just did a new shootout for this title, so expect to see killer copies of record number 8 from the set on the site soon!
Credit must go to my good audiophile friend Robert Pincus for turning me on to the Readers Digest sets in general and this set in particular. Most of it is no better than decent, but the best records in the set are superb, as you can read in our older review below.
A SUPERB White Hot side one coupled with a better than Super Hot (A++ to A+++) side two, back to back on one disc, is a surprise indeed.This is only the second time a disc from a Reader’s Digest box set has made it to the site, and we’re continuing with more exciting orchestral music — Capriccio Espagnol (side two) and the Romanian Rhapsody No. 1 (side one) are the two longest pieces on record 8 of the set, and both of them are knockouts on this pressing.
This is truly DEMONSTRATION QUALITY SOUND! Records do not get much more spacious, open, transparent, rich and sweet. Kenneth Wilkinson was the man behind the board for many of these RDG recordings, this very one in fact, and as you will hear, he was pretty much in a league of his own as a recording engineer in the early days of stereo. This record should provide you with all the proof you need.
Play it up against the best of the RCAs, Londons and Mercs from the period and you will see what I mean. And of course it will completely DESTROY any pressing you may have on Heavy Vinyl, from any label, at any playback speed, of any music. (more…)
- White Hot Stamper sound for Capriccio Espagnol, with a tremendously exciting performance
- Big stage, great ENERGY, lots of hall ambience and solid orchestral weight – hard to fault!
- Orchestral music doesn’t get much more EXCITING or COLORFUL than Capriccio Espagnol
- If you like Reiner’s Scheherazade – and who doesn’t? – you are sure to be knocked out by this recording
For your listening pleasure, we proudly offer our music loving fans a SUPERB sounding White Hot Capriccio Espagnol, performed with passion and precision by the Royal Philharmonic under the direction of Oscar Danon. This is only the second disc from a Reader’s Digest box set to make it to the site, but what a disc it is — orchestral music doesn’t get much more EXCITING or COLORFUL than Capriccio Espagnol. It’s truly a knockout on this pressing: White Hot Stamper As Good As It Gets sound.
This is what we mean by DEMO DISC sound. Records do not get much more spacious, open, transparent, rich or sweet. Kenneth Wilkinson was the man behind the board for many of these RDG recordings, this very one in fact, and as you will hear, he was pretty much in a league of his own as a engineer in the early days of stereo. This record is proof positive of his uncanny recording skills. (Check out the Decca Tree tab above.)
Play it against the best of the RCAs, Londons and Mercs from the period and you will see what I mean. And of course it will completely DESTROY any pressing you may have on Heavy Vinyl, from any label, at any playback speed, of any music. (more…)
A great example of an album We Was Wrong about.
As you can see by the commentary below, I used to think this was a wonderful sounding London “Sleeper” classical recording.
That was many years ago – five, six, seven, I cannot be sure. I ended up acquiring a half dozen copies of the album or so over the course of those years, had them cleaned up and proceeded to do a shootout.
It did not go well. Immediately I noticed that the pressings I was playing were sounding clean, clear and lively, but much too modern, too much like a good CD and not enough like the good Golden Age classical recordings we audition regularly.
Those recordings, on the right pressings, will take your breath away. Rhapsody! was leaving me asking myself what was wrong. The more I listened the more obvious the faults of the recording became.
The pressings I played lacked warmth, richness, sweetness, space, and a number of other analog qualities I won’t belabor here. Too much of what makes listening to vintage vinyl so involving was just not on these records no matter how much I may have wanted them to be.
The extreme top and bottom were also lacking, giving the sound a “boxy” quality. The presentation was wide but not tall. Of the five levels of sound we discuss on the site in various listings, levels one and five were not as evident as they should have been.
This is, again, what progress in audio in all about. As your stereo improves, some records should get better, some should get worse. It’s the nature of the beast for those of us who constantly make improvements to our playback and critically listen to records all day.
We cannot rely on our previous judgments. With all the changes we’ve made over the years, we can now clean our records better and play our records better than ever before.
That means that some will rise and some will fall. This one fell, pretty hard in fact. Not a bad record, but not a good one either, and far from as good as I once thought.
Below is our previous commentary. All of this was true for my old stereo and room, my critical listening skills at the time, my old cleaning regimen. And by old I mean my approach from only about five or six years ago!
Things have changed, dramatically, and nothing in all of audio could make me happier.
DEMO QUALITY SOUND! This is one of the greatest SLEEPER albums of all time.
This London reissue from 1979 of recordings from 1978 in Detroit, the year in which Dorati became director of the Detroit Symphony has the kind of orchestral sound we drool over here at Better Records. Dark and rich strings — the basses growl just like the real thing. Dynamic. Deep solid bass. Fluffy tape hiss, which sounds exactly the way it should. This tells you that the top end is untweaked. (Almost all Classic Records have funny sounding tape hiss as you may or may not know. It”s a dead give away that the top end is boosted. Tape hiss is like pink noise: it always sounds the same, unless somebody has fooled with it. Steve Hoffman taught me to listen for this quality and it was a lesson important to my growth as a critical listener.) (more…)
This VERY RARE 2 LP Shaded Dog pressing has Super Hot Stamper sound. Much of what’s good about Golden Age recordings is heard here, with side one for example having the sound of a HUGE hall and that Three-Dimensional quality that the best vintage recordings are able to convey so well.
We constantly knock Heavy Vinyl here at Better Records for the simple reason that we play vintage recordings such as this by the score every month and can hear what they do so well. Unfortunately the huge hall and the 3-D soundstaging they effortlessly reproduce cannot be found on any Heavy Vinyl pressing we know of.
Such qualities allow this record to sound — in some ways, to be sure not all — like live music. Heavy Vinyl just plain doesn’t. (more…)
A distinguished member of the Better Records Orchestral Music Hall of Fame.
This RCA Living Stereo White Dog LP has SUPERB SOUND!
I’m a big fan of this title. The string tone is rich and dark and just wonderful. If you want an exciting record with outstanding Living Stereo sound — dynamic, with strings to die for, and an energetic performance, this is the one! Don’t let the White Dog fool you. I doubt if the average Shaded Dog is any better. This record sounds just right to me. Listen to how clear and correct the triangle is. (more…)
Sonic Grade: F
The lower strings are wonderful on the original — wall to wall, with that rosiny texture we love. I wrote at the time — this is twenty or so years ago — that the Classic pressing took that rich, dark sound and brightened it up, naturally ruining it in the process. Cellos and double basses just don’t sound like that. On the best pressings of LSC 2471 their timbre is Right On The Money. Of course, that’s is the real thing, not some audiophile rebutchering.
Now if you’re a Classic Records fan, and you like that brighter, more detailed, more aggressive sound, the original is probably not the record for you.
We don’t like that sound and we don’t like most Classic Records. They may be clean and clear but where is the RCA Living Stereo Magic that made people swoon over these recordings in the first place? Bernie manages to clean that sound right off the record, and that’s just not our idea of high-fidelity, sorry. (more…)