These are just some of the recordings by The Lovin’ Spoonful that we’ve auditioned recently and found wanting. Without going into specifics we’ll just say these albums suffer from poor sound and therefore do not deserve a place in your collection, and may even belong in out Hall of Shame.
A Free Service provided to the Audiophile Public, courtesy of Better Records.
It’s been quite a while since I played the Classic LP, but I remember it as being fairly good. At the time we wrote:
It’s a little rolled off on the top, but it’s a good rolled off, because brightening it up would make it sound modern and wrong. It’s rich and full of body, especially the piano, the way modern recordings almost never are.
Musically it’s hard to fault as well. What’s surprising, if you haven’t played this album in a while, is how good a non-hit track like “Home Again” can be. But there aren’t many of those on this album because almost every song was a hit or received a lot of radio play; the quality of the material is that good.
An outstanding copy with Shootout Winning Triple Plus (A+++) sound form start to finish – the first to ever hit the site!
The code has finally been cracked – this specific early Atco domestic pressing showed us a huge, rich, Tubey Magical Trafalgar we had no idea could even exist, mostly because all the British LPs we had on hand for the shootout were a joke next to it
The lead single “How Can You Mend a Broken Heart?” was the first Bee Gees’ No. 1 single in the United States
4 stars – “Trafalgar remains one of the Bee Gees’ most critically acclaimed albums and can be found within the pages of 1001 Albums to Hear Before You Die.”
This vintage Atco pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.(more…)
A KILLER Shootout Winning copy! A+++ on both sides – this is As Good As It Gets for this Monster Album from 1979
This pressing is clearly fuller, bigger, more lively and more Tubey Magical than any other copy we played, and squarely in the best tradition of late-’70s pop productions
This one swept the Grammy awards, with great songs including Sailing, Ride Like The Wind and Never Be The Same – Michael McDonald’s gorgeous harmonies are the icing on the cake
“While the hits like the dreamy “Sailing” and the surging “Ride Like the Wind” deserved all the attention, they’re hardly the only highlights here — to borrow a sports metaphor, this has a deep bench, and there’s not a weak moment here
If you like Michael McDonald, Toto, The Doobies, Hall and Oates, The Bee Gees and countless other bands we have lovingly found a home for on our site, you will no doubt find much to like here. A guilty pleasure you say? When a record sounds this good there is nothing to feel guilty about. This vintage pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.(more…)
This very nice looking Elektra Butterfly Label LP has the best sound I’ve ever heard for this compilation. Keep in mind that this is an album of mostly weak material, not in the class with the first ’Best of Bread’ by a long shot. However, some of these songs sound quite good here, easily better than the typical Bread album from which they are taken. Listen to ‘Been Too Long On The Road’ or ‘He’s A Good Lad’ to hear the best sounding Bread.
For just the second time since 2007, here’s a White Hot Stamper copy of The Best Of Bread — a Better Records Desert Island Disc if ever there was one. (Believe me, there are plenty.)
I can’t be sure why these songs sound so much better here than they do on Bread’s standard albums, but we’ve never heard a Bread album that could compete with the best copies of this compilation. [This is no longer true, please read more about this subject in the listings for the individual Bread albums.]
Bread albums have some of the most Tubey Magical, rich and sweet ANALOG sound you can find, thanks to engineerARMIN STEINER.
He was also one of the engineers on Spirit’s first album, assisted on Ram and has more than a hundred other engineering credits.(more…)
If you have a good copy of Look Around and a high-rez stereo/room and want to have some fun, play the second track on side one, Roda. In the left channel there is some double-tracked clapping (or two people, how could you tell the difference?) in a HUGE room. Actually although it sounds like a huge room it’s probably a normal sized room with lots of reverb added. Either way it sounds awesome.
These hand claps drive the energy and rhythm of the song, and they are so well recorded you will think the back wall of your listening room just collapsed behind the left speaker. On the truly transparent copies the echo goes WAY back.(more…)
Notice how the third track on side two, Will You Still Love Me Tomorrow, which Carole wrote when she was only eighteen and which became a big hit for The Shirelles, is actually the best sounding song on the entire album.
I have a theory that this song was recorded toward the end of the sessions, and the reason it sounds so good is that it took them until then to figure out how to do it. This is no Demo Disc by any means. The recording itself seems to have shortcomings of every kind from track to track. Perhaps as they made their way through the sessions they were learning from their mistakes, mistakes that no one could go back and fix without starting from scratch all over again, and by the time they got to this track they had it all figured out. Of course that is just a guess, nothing but speculation on my part. Regardless of the cause, see if you don’t hear what I’m talking about.
What to Listen For (WTLF)
One of the most telling qualities that the best copies displayed is the ability to hear through the mix to Carole’s piano, which is often placed toward the back of the mix, underpinning the music, not playing a prominent role. The best copies really let you follow her all the way through every song, no matter how quietly she is playing or how far back in the mix she may be. If the pressing has a thinner sound, obviously it’s easy to pick up on the precussive nature of the instrument. The trick is to hear the full range of notes, and for that you need fullness and transparency.(more…)
S9 is hands down the best example of a recording that truly comes to life when you Turn Up Your Volume.
There’s not much ambience to be found in their somewhat dead sounding studio, and very little high frequency boost to any instrument in the soundfield, which means at moderate levels this record sounds flat and lifeless. (You could say it has that in common with most Heavy Vinyl pressings these days, if you wanted to take a cheap shot at those records, which, to be honest, I don’t mind doing. They suck; why pretend otherwise?)
But turn it up and man, the sound really starts jumpin’ out of the speakers, without becoming phony or hyped-up. In fact, it actually sounds more NATURAL and REAL at louder levels.
A Quick and Easy Test
Play the record at normal levels and pick out any instrument — snare, toms, sax, bass — anything you like. Now turn it up a notch and see if the timbre of that instrument isn’t more correct. Add another click of volume and listen again. I think you will see that with each increase in volume, assuming your system can handle it, the tonality of each and every instrument you hear continues to get better.
This record would sound right at something very close to, if not actual, LIVE levels. Of that I have no doubt.(more…)
A killer copy of Marshall Crenshaw’s debut, earning seriously good Double Plus (A++) sonic grades on both sides
Balanced, musical and full throughout – this pressing is a big step up from many of the other originals that we played
5 Stars in Allmusic and a classic of “catchy, relatively unadorned guitar rock.”
“The album is an alternately rousing and heartbreaking cycle of infectious pop rockers (“Cynical Girl,” “Rockin’ Around in N.Y.C.,” “She Can’t Dance”) and ballads (“Mary Anne,” “Not for Me”) — none of them clocking in at more than 3:07.”
These songs may seem simple on the surface, but they are heartfelt and catchy, the essence of great popular music. If you like Buddy Holly (and who doesn’t like Buddy Holly?), or any of the people that have been influenced by him to make straight ahead rock and roll, you should find much to like here.
Marshall credits Rockpile and Squeeze as influences on this album. Since I like both those bands, especially Squeeze, this music is right up my alley.
What to Listen For (WTLF)
Less grit – smoother and sweeter sound, something that is not easy to come by on the man’s debut.
A bigger presentation – more size, more space, more room for all the instruments and voices to occupy. The bigger the speakers you have to play this record the better.
More bass and tighter bass. This is fundamentally a pure rock record. It needs weight down low to rock the way the engineers wanted it to.(more…)