_Conductors – Martinon

Massenet – This Blueback Was Just Awful

Reviews and Commentaries for the Music of Jules Massenet (1842-1912)

Hot Stamper Classical and Orchestral Imports on Decca & London

Don’t buy into that record collector/audiophile canard that the originals are always the best sounding pressings.

This original Blueback pressing — true, we only had the one, so take it for what it’s worth — was a complete disaster: shrill, with no top or bottom to speak of, the very definition of boxy sound.

Our current favorite for sound and performance is the one Fremaux conducted for EMI in 1971.

It had been on the TAS List for some time, but we confess we didn’t bother finding out how good it was until about five years ago when it became clear to us what a wonderful conductor Louis Fremaux could be.

Here are some other Hot Stamper pressings of TAS List titles that we like.

Back to London

The sound of the London original you see above was much too unpleasant to be played on high quality modern equipment. There are quite a number of others that we’ve run into over the years with similar shortcomings.

A stereo that looks like the console below — or one that sounds like an old console even though it has new components, there are plenty of those out there in audiophile land — is perfect for all your Bad Sounding Golden Age Recordings.

Or you could get that old console sound by powering your system with the Mac 30s you see below. They are very good at hiding the faults of old records (and plenty of new ones too).

Our Pledge of Service to You, the Discriminating Audiophile 

We play mediocre-to-bad sounding pressings so that you don’t have to, a free public service from your record loving friends at Better Records.

You can find this album in our Hall of Shame, along with more than 200 others that — in our opinion — qualify as some of the worst sounding records ever made. (Some records in the Hall of Shame have sound that was passable but the music was not up to our standards, or some combination of the two.  These are also records that audiophiles can safely avoid.)

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Shostakovich on Classic Records – If You Own This Pressing, I’ll Bet It’s Pristine

More of the music of Dmitri Shostakovich (1906-1975)

Hot Stamper Pressings of Orchestral Recordings Available Now

If I were in charge of the TAS Super Disc List, I would not have put this record on it. Here are some others that we do not think qualify as Super Discs.

When Classic Records was blowing out its unsold inventory through the Tower Records Classical Annex in Hollywood many years ago — apparently they had run into some financial trouble — this was a title you could pick up for under ten bucks. I remember it being $7, but my memory may not be correct on that point. Whatever the price, it was cheap.

And even at that price it seemed nobody really wanted it.  Which is as it should be. Heavy Vinyl or no Heavy Vinyl, a bad record is a bad record and not worth the bother of sitting down and listening to it.

If you own this record, my guess is it is pristine.

If you played it at all, you played it once and put it away on a shelf where it probably sits to this very day. Good records get played and bad records don’t. If you have lots of pristine records on your shelves, ask yourself this question: Why don’t I want to play them?

You may not like the implications of the answer: They aren’t any good.

And that means you should never have bought them in the first place. But we all make mistakes. Owning up to them may be hard, but it is the only way to make any real progress in this hobby.

The One Out of Ten Rule

If you have too many classical records taking up too much space and need to winnow them down to a more manageable size, pick a composer and play half a dozen of his works. Most classical records display an irredeemable mediocrity right from the start. It certainly doesn’t take a pair of golden ears to hear it.

If you’re after the best sound, it’s the rare record that will have it, which makes clearing shelf space a lot easier than you might imagine. If you keep more than one out of ten, you’re probably setting the bar too low, if our experience is any guide.

If you want nothing but amazing sounding classical records, we typically have a very good selection.

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The Vintage Vinyl Sound You Won’t Find on Modern LPs and CDs

Classical Living Stereo Titles Available Now

More Recordings from Kingsway Hall

Here is the kind of record that will make you want to take all your heavy vinyl classical pressings and put them in storage. 

It’s also proof positive that Decca’s choice of Kingsway Hall as a recording venue was a good one. The full range of colors of the orchestra are here presented with remarkable clarity, dynamic contrast, spaciousness, sweetness, and timbral accuracy.

If you want to demonstrate to a novice listener why modern recordings are so consistently unsatisfactory, all you have to do is play this record for them. In our experience, no CD and no Heavy Vinyl pressing ever sounded like this.

The richness of the strings, a signature sound for Decca in the Fifties and Sixties, is on display here for fans of the classical Golden Age. It’s practically impossible to hear that kind of string sound on any recording made in the last thirty years (and this of course includes practically everything pressed on Heavy Vinyl).

It may be a lost art, but as long as we have these wonderful vintage pressings to play, it’s an art that is not lost on us. I don’t think the Decca engineers could have recorded this music much better than they dhave here — it has all the orchestral magic one could ask for, as well as the clarity and presence that are missing from so many other vintage Golden Age records.

An Excerpt from a Rave Review

James Walker and Alan Reeve get the somewhat tricky acoustics of Kingsway just right. Imaging and the soundstage are exemplary, both adding to the splendor of the presentation. This is an example of what art as recorded sound should strive to be. A triumph for all participants.

Anthony Kershaw

Shostakovich / The Age of Gold – Another “Problematical” Classic Records Reissue

More of the music of Dmitri Shostakovich (1906-1975)

Classical Living Stereo Titles Available Now

Sonic Grade: D

It’s been quite a while since I played the Classic pressing, but I remember it as fairly typical of their mediocre-at-best catalog, tonally fine but low-rez and lacking space, warmth and above all Tubey Magic.

I don’t think I’ve ever played an original or a VICS reissue that didn’t sound better, and that means that the best grade to give Classic’s pressing is probably a D: below average.

When Classic Records was blowing out its unsold inventory through the Tower Records Classical Annex in Hollywood, this was a title you could pick up for under ten bucks. (I remember it being $7, but my memory may not be correct.)

And even at that price it seemed nobody really wanted it.  Which is as it should be. Heavy Vinyl or no Heavy Vinyl, a bad record is a bad record and not worth the bother of sitting down and listening to it.

If you own this record, my guess is it is MINT. If you played it at all, you played it once and put it away on a shelf where it sits to this very day.

You may not have been able to put your finger on exactly what was wrong with it, but on some level, perhaps subconsciously, you knew there was something missing, something “off.” Whatever it was doing, good or bad, it wasn’t a record you felt the need to return to again.

And that’s why it’s mint. It was played once or twice and stored. You kept it perhaps because it filled a hole in your classical collection. Shostakovich Age of Gold? Yes, I have that one, here it is right here, in the S’s.

The world is full of mediocre records. This is not the brilliant insight it appears to be. They are mediocre by definition, since the average record is average. Classic Records made quite a number of them. They were joined in these efforts by lots of other incompetent mastering houses marketing their wares to audiophiles, the self-described “lovers of sound,” the ones that are apparently fooled by fancy packaging, quiet vinyl and a good story. (You, dear reader, are unlikely to be so easily fooled, or you would have stopped reading this post by now.)

Our records don’t come in fancy jackets, they rarely have quiet vinyl, and most people, audiophiles included, don’t think our story of the Hot Stamper records we sell and how we find them is plausible in the least.

But our records sound good, and we think that ought to count for something.

Further Reading

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Shostakovich – Symphony No. 1 / The Age Of Gold Ballet Suite / Martinon

More of the music of Dmitri Shostakovich (1906-1975)

Classical Living Stereo Titles Available Now

  • The Symphony No. 1 concludes for about the first inch on side two and is excellent as well, with many of the same attributes, as rightly befits a true Golden Age Classic from 1959
  • Recorded in Kingsway Hall with the London Symphony, this Decca licensed title has orchestral sound to rival the best you’ve heard
  • “This is an example of what art as recorded sound should strive to be. A triumph for all participants.”

Our Story

The first copy of the album I got my hands on and needle-dropped blew me away with its big, open, clear, solid orchestral sound. Close to three years later, when we had enough copies to do this shootout, sure enough it won. That rarely happens — in a big pile of records there’s almost always something better than whatever we’ve heard — but it happened this time.

Imagine if I had played one of the bad sounding or noisy ones to start with. It’s unlikely I would have been motivated to pursue the title and consequently the shootout we just did would have never happened. Lucky for us all that that first copy was so good.

These sides are “real” sounding, with a clean bottom and clean lower mids. Little to no smear. The sound is full-bodied and rich, yet clear and clean, and spread out on a huge stage – it’s yet another example of proper Orchestral Reproduction.

This is the kind of record that will make you want to take all your heavy vinyl classical pressings and put them in storage.  (more…)

Shostakovich – Lucky for Us the First Copy We Played Was Outstanding

Classical Living Stereo Titles Available Now

200+ Reviews of Living Stereo Records

The first copy of the album I got my hands on and needle-dropped blew me away with its big, open, clear, solid orchestral sound. Close to three years later, when we had enough copies to do this shootout, sure enough it won. That rarely happens — in a big pile of records there’s almost always something better than whatever we’ve heard — but it happened this time.

Imagine if I had played one of the bad sounding or noisy ones to start with. It’s unlikely I would have been motivated to pursue the title and consequently the shootout we just did would have never happened. Lucky for us all that that first copy was so good.

These sides are “real” sounding, with a clean bottom and clean lower mids. Little to no smear. The sound is full-bodied and rich, yet clear and clean, and spread out on a huge stage – it’s yet another example of proper Orchestral Reproduction.

This is the kind of record that will make you want to take all your heavy vinyl classical pressings and put them in storage. 

Classic Records Release on Heavy Vinyl

It’s been quite a while since I played the Classic pressing, but I remember it as fairly typical of their mediocre-at-best catalog, tonally fine but low-rez and lacking space, warmth and above all Tubey Magic.

I don’t think I’ve ever played an original or a VICS reissue that didn’t sound better, and that means that the best grade to give Classic’s pressing is probably a D: below average.

When Classic Records was blowing out its unsold inventory through the Tower Records Classical Annex in Hollywood, this was a title you could pick up for under ten bucks. I remember it being $7, but my memory may not be correct.

And even at that price it seemed nobody really wanted it.  Which is as it should be. Heavy Vinyl or no Heavy Vinyl, a bad record is a bad record and not worth the bother of sitting down and listening to it.

If you own this record, my guess is it is MINT. If you played it, you played it once and put it away.

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Ibert / Divertissement / Martinon – Reviewed in 2011

More of the music of Camille Saint-Saens (1835-1921)

This London LP has a very good side two.

Lively and not too bright with nice space and clarity, the Jeux D’Enfants is very enjoyable.

Le Rouet D’Omphale (the Spinning Wheel) which follows is even better! Natural and dynamic with rich strings, the tonality is wonderfully balanced. 

Performed with the Paris Conservatory Orchestra under Jean Martinon, this record also features Saint-Saens’ Danse Macabre.

Side one, unfortunately, is not up to the same standard. Both sides, of course, have been through our extensive cleaning process and should sound substantially better than average.

This is an Older Classical/Orchestral Review

Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we started developing in the early 2000s and have since turned into a veritable science.

We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the Sonic Grades and Vinyl Playgrades are listed separately.)

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Prokofiev / Symphony No. 5 / Martinon – Reviewed in 2010

More of the music of Sergei Prokofiev (1891-1953)

Reviews and Commentaries for the Music of Sergei Prokofiev

This rare Shaded Dog pressing of LSC 2272 has an absolutely AMAZING side two. It’s transparent, with sweet (yes, for the Prokofiev 5th!), smooth and rich strings. Listen to how natural the woodwinds are on this side.

Side two here is the fluke, since most of the time this record sounds terrible. But now we know how well engineered it really is. We have the copy right here to prove it. (more…)

Massenet / Le Cid Ballet – A Good Speakers Corner Decca

Reviews and Commentaries for the Music of Jules Massenet (1842—1912)

Hot Stamper Classical and Orchestral Imports on Decca & London

One of the better Speakers Corner Deccas.

We haven’t played a copy of this record in years, but back in the day we liked it, so let’s call it a “B” with the caveat that the older the review, the more likely we are to have changed our minds.

Not sure if we would still agree with what we wrote back in the ’90s when this record came out, but here it is anyway.

Finally a version of Le Cid that we can enjoy! Superb sound with a performance to match!

No more suffering through the hi-fi-ish Doug Sax/ Acoustic Sounds rebutchering of the Fremaux on Klavier.  

Audiophiles in droves bought into that one, apparently not noticing the overblown bass and spark-spark-sparkling top end. Thankfully we now have this Decca from Speakers Corner to demonstrate proper orchestral balance.

If your system needs boosted bass and highs, keep the Klavier. If it doesn’t, this Decca will allow you to forget about the sound and enjoy this lovely music.

Borodin / Symphony No. 2 – Martinon

Hot Stamper Pressings of Living Stereo Titles Available Now

Reviews and Commentaries for Hundreds of Living Stereo Records

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 is an Older Classical/Orchestral Review

Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we started developing in the early 2000s and have since turned into a veritable science.

We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the Sonic Grades and Vinyl Playgrades are listed separately.)

We were often wrong back in those days, something we have no reason to hide. Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.

Currently, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions, up against a number of other pressings. We award them sonic grades, and then condition check them for surface noise.

As you may imagine, this approach requires a great deal of time, effort and skill, which is why we currently have a highly trained staff of about ten. No individual or business without the aid of such a committed group could possibly dig as deep into the sound of records as we have, and it is unlikely that anyone besides us could ever come along to do the kind of work we do.

The term “Hot Stampers” gets thrown around a lot these days, but to us it means only one thing: a record that has been through the shootout process and found to be of exceptionally high quality.

The result of our labor is the hundreds of titles seen here, every one of which is unique and guaranteed to be the best sounding copy of the album you have ever heard or you get your money back.

New to the Blog? Start Here

What Exactly Are Hot Stamper Pressings?

Reviews and Commentaries for Other Recordings by Decca

Basic Concepts and Realities Explained

Important Lessons We Learned from Record Experiments 

More Classical and Orchestral Commentaries and Reviews