Better than Super Hot Stamper sound on side one of this lovely Victrola reissue from 1960, one of the best in the entire series. Pay attention to the brass — yes, it may have some tubey smear, but listen to how HUGE and POWERFUL it is! Drop the needle on the first side and watch (or listen) as the sound comes jumping out of your speakers. Modern records can’t do that.
These Decca-derived recordings are highly sought after, and with good reason. It’s hard to imagine a more wonderful audiophile disc, both in terms of the programme and the quality of the sound.
This is the precisely the kind of big, bold, lifelike sound Decca engineers were able to capture on tape, and RCA mastering engineers were able to master from that analog tape, fifty or so years ago.(more…)
This White Hot Stamper Plum Victrola pressing has GORGEOUS Tubey Magical Analog sound the likes of which you may have never heard. Yes, it’s that good! Recorded in England by Decca in 1959, with Solti at the helm of the Orchestra of the Royal Opera House, Covent Garden, the music herein was originally released on the album Venice, LSC 2313, with a lovely die-cut cover. Six years later, still clearly in the Golden Age of Tubes, it was reissued on Victrola, and it would be hard to imagine it sounding any better than it does here. (We keep a noisy Venice as a ref but it sure doesn’t sound like this pressing.)
At one time we had a copy of this record that we felt suffered from reversed absolute polarity, but we found no such problem with this copy — it sounds amazing!(more…)
Classic Records ruined this album, as one would have expected. Their version is dramatically more aggressive, shrill and harsh than the Shaded Dogs we’ve played, with almost none of the sweetness, richness and ambience that the best RCA pressings have in such abundance. In fact their pressing is just plain awful, like most of the classical recordings they remastered, and should be avoided at any price.
Most audiophiles (including audiophile record reviewers) have never heard a classical recording of this quality. If they had Classic Records would have gone out of business immediately after producing their first three Living Stereo titles, all of which were dreadful and labeled as such by us way back in 1994. I’m not sure why the rest of the audiophile community was so easily fooled, but I can say that we weren’t, at least when it came to their classical releases. (We admit to having made plenty of mistaken judgments about their jazz and rock, and we have theWe Was Wrongentries to prove it.)