Genre – Soundtracks & Soundtrack Music

Phase IV and the TAS List – Three-Dimensional Depth, Transparency and Space

Hot Stamper Phase 4 Recordings Available Now

Reviews and Commentaries for Phase 4 Recordings

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This TAS List Super Hot Stamper pressing of one of the greatest and most famous Orchestral Blockbuster Soundtracks ever recorded more than lives up to our expectations for Decca Phase 4. This is Phase 4 done RIGHT.

As with all the best Herrmann releases, the huge size and scope you hear is the sound of orchestral music recorded in glorious ANALOG!

The sound is so clear, spacious and three-dimensional that you will feel as if your speakers have disappeared before your very eyes.

The layering of depth is really something to hear on this copy, with choirs of brass instruments located precisely in space, some further back, some off to the side of the soundstage. And what a soundstage it is, so wide and deep. Transparency – a quality you find on both sides of this copy — is what makes this all sound so REAL.

Opacity Vs. Transparency

Note that we have been especially anti-heavy vinyl in our recent commentaries for their consistently opaque character, the opposite of what is necessary in order to hear into the music, deep into the soundstage, to see and hear ALL the instruments, even the ones at the back.

Try that with any Classic Record or Speakers Corner pressing. It’s records like this that show you precisely what you have been missing all these years if you have been collecting and playing releases from those labels and the others like them. (more…)

Casino Royale Can Be Amazing on the Right Copy, If You’ve Got the System For It…

Reviews and Commentaries for TAS Super Disc Recordings

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This is a record that has its share of problems, but if you’ve got the system for it (huge, heavily tweaked, fast, free from obvious colorations and capable of tremendous resolution), the best pressings are sure to impress.

Having heard the best sounding pressings I now understand why this has been such a highly regarded long-term resident of the TAS Superdisc List. The best copies are SUPERDISCS… while the average copy of this album is anything but. Who could take such harsh, grainy, thin, veiled, compressed sound seriously? What was Harry Pearson smokin’?

I can honestly and truthfully say that until we discovered the Hot Stampers for this album, I never thought this record deserved the praise Harry heaped upon it. Now I do. I once was blind but now I see, or something like that.

And by the way, does his copy sound as good as this one? Let’s face it: the late Harry Pearson was simply not the kind of guy who would sit down with five or ten copies and shoot them out.

When you listen to the average pressing of Casino Royale, you get the feeling that you’re hearing a standard-issue, boxy, lightweight, blary ’60s soundtrack. Perhaps you hear some promise in the recording, but it’s a promise that’s unfulfilled by the record on your turntable. This copy will completely redefine what you know about the sound of this music.

The space is big and the sound relatively rich (although the sound does vary quite a bit from track to track). The vocals have notably less hardness than most and the orchestra is not as brash as it can be on so many of the copies we audition. Huge amounts of Tubey Magic as well, which is key to the best sounding copies, and critical to The Look of Love.

The sound needs weight, warmth and tubes or you might as well be playing a CD. (more…)

Bernstein / Symphonic Dances and the Need for Full Brass and Clean Cymbal Crashes

More music written or performed by Leonard Bernstein (1918-1990)

More Orchestral Spectaculars

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This reissue had the sound we were looking for!

One of the biggest advantages this copy had over most of what we played is fuller brass. The shrill sounding horns on most Columbia albums is what gets them tossed in the trade pile. Fortunately for us audiophiles who care about these sorts of things, the sound here is rich and clean, with solid, deep bass. The stage is huge, with the multi-miking kept to a minimum so that you can really hear the space this big group of musicians occupies.

This pressing is a reissue, not a Six Eye original. The reason this particular LP beat every other pressing we played comes down to one specific quality — the top is dramatically cleaner and more extended.

There is a HUGE amount of top end on this recording. Wildly splashing cymbals and other percussion instruments are everywhere, and they are a joy to hear. No original was as clean up top as this reissue, and without a clear, (mostly) distortion-free top end, the work will simply not sound the way Bernstein wanted it to.

All that percussion is in the score. The high-frequency energy – perhaps the most I have ever heard from any recording of his music — is there for a reason. He conducted his own score, and one can only assume he liked the way it came out. We sure did. (more…)

Bernard Herrmann – The Mysterious Film World of Bernard Herrmann

More Bernard Herrmann

More Classical and Orchestral Recordings

Reviews and Commentaries for Soundtracks and Soundtrack Music

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  • This superb release finally returns to the site with KILLER Shootout Winning Triple Plus (A+++) sound or very close to it on both sides
  • An outstanding recording with a huge three-dimensional stage, open, clear, extended up top and down low — the sound on this pressing is nothing short of amazing
  • 4 stars: “The sound glitters, some of the brightest and richest audio of its period (attested to by the album’s being part of Decca/London Phase 4 Stereo), and the performances have a dignity and intensity that makes the music — drawn from the key parts of Herrmann’s scores for the Ray Harryhausen-created fantasy films The Three Worlds of Gulliver, Mysterious Island, and Jason and the Argonauts — seem even more serious and profound than it originally did.”

Side one boasts some wonderful material from Mysterious Island and Jason and the Argonauts. Who else but Herrmann could have orchestrated such phantasmagorical goings on?

The Three Worlds Of Gulliver Suite takes up all of side two. The complete score from which the suite is taken can be found on the original Herrmann album The Three Worlds of Gulliver, a long-time and extremely rare member of the TAS Super Disc List.

This vintage London Phase 4 Stereo 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.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds. (more…)

John Williams / Star Wars & Close Encounters / Mehta

Decca and London Hot Stamper Pressings Available Now

More Recordings conducted by Zubin Mehta

This Mobile Fidelity LP contains the music of Star Wars and Close Encounters, conducted by Zubin Mehta. This MoFi pressing is far more TRANSPARENT than the London pressings we have of the same music, even the ones half-speed mastered by Stan Ricker himself. Yes, he cut the original Londons!

It’s still one of the better MoFi remasters, all things considered. The music, to these ears, has always been hi-fi-ish schlock, and the recording itself is way too multi-miked, in the tradition of Phase IV, than I could ever begin to take seriously.

Bottom line, a loser, but the original Londons are even worse!
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Was It Even Possible for Harry Pearson to Create a Meaningful Super Disc List?

A customer brought up Harry Pearson in a discussion we were having about the best sounding records, to wit:

You’re as much a pioneer as Harry Pearson ever was, and your authenticity is unchallengeable…

Even I wouldn’t go that far! We make plenty of mistakes, and we learn new things about records all the time, so calling us “unchallengable” is way off the mark. However, we are always up for the challenge, and are happy to put our records up against any and all comers.

As far as Harry Pearson, I had this to say about the man:

Very kind of you to say. I think Harry could have been much better at his job if he had modern record cleaning technology, better playback, and a staff of people playing thousands of records every year to discover the best sounding pressings for him.

No one can succeed as a one man show in audio. Audio is too complicated. It takes a team of dedicated professionals with expertise in every area of audio and record collecting to do it right.

He never understood stampers and the like because he didn’t have the research staff to get the data he would have needed to find the stamper patterns.

He was stuck at the level of labels, and also not nearly skeptical enough of the idea that “the original is better,” a myth audiophiles cling to to this very day. That, and the superiority of the Heavy Vinyl remaster, which we both know is a crock of sh*t. (more…)

Burt Bacharach – Casino Royale Is Really a Mess on Classic Records Vinyl

More Burt Bacharach

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Sonic Grade: D

Casino Royale under the sway of Bernie’s penchant for bright, gritty, ambience-challenged sound? Not such a good match. There is no reissue, and there will never be a reissue, that will sound as good as a good 3s original. (And I hope it would go without saying that most copies cannot begin to do what a real Hot Stamper original can.)

As is often the case, the Classic Heavy Vinyl Reissue is simply a disgrace.


FURTHER READING

Labels With Shortcomings – Classic Records – Classical (more…)

Burt Bacharach – Casino Royale

More Burt Bacharach

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  • A superb original stereo copy with solid Double Plus (A++) sound or BETTER from start to finish – exceptionally QUIET vinyl for this album too
  • A record that has its share of problems, but if you’ve got the system for it (huge, heavily tweaked, fast, free from obvious colorations and capable of tremendous resolution), this copy is sure to impress  
  • A TAS List favorite that sounds amazing on a the right early pressing and dramatically better than any Heavy Vinyl reissue that’s we know of
  • “The more recognizable and certainly more straightforward side of Bacharach is here, too, on the Dusty Springfield smash ‘The Look of Love.’ This is one of Bacharach’s best soundtracks…”

The space is big and the sound relatively rich (although the sound does vary quite a bit from track to track). The vocals have notably less hardness than most and the orchestra is not as brash as it can be on so many of the copies we audition. Huge amounts of Tubey Magic as well, which is key to the best sounding copies, and critical to The Look of Love. The sound needs weight, warmth and tubes or you might as well be playing a CD. (more…)

Bernstein – The Music of Leonard Bernstein / Rogers

More music written or performed by Leonard Bernstein (1918-1990)

More Orchestral Spectaculars

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  • A STUNNING pressing with Shootout Winning Triple Plus (A+++) sound or close to it throughout – a true Orchestral Demo Disc from 1961
  • As I write this, dollar for dollar this is probably the best sound for the money on the site
  • The Symphonic Dances from “West Side Story” sound superb here – big, rich and Tubey Magical
  • The performances are superb – energetic as befits most of the music, yet lyrical when the score calls for it
  • Vibrant orchestrations, top quality sound and fairly quiet surfaces combine for an astounding listening experience
  • Big speakers and loud levels are the sine qua non for the proper reproduction of this album

This London Phase 4 British import has some of the most SPECTACULAR sound I have ever heard reproduced from disc. The sound is so BIG and BOLD that it handily puts to shame 95% or more of all the Golden Age Shaded Dogs, London Bluebacks, Mercury Living Presence’s, EMI’s and Decca’s we’ve ever played. If we had a Classical Top 100 list, this record would belong in a Top Ten taken from it, right near the top judging by what I heard when I played it.

If you have a system with the speed, power, and size to play this record properly (yes, you will need all three and a whole lot more), it’s hard to imagine it would not qualify as the best-sounding orchestral recording you’ve ever heard.

Demo Disc barely begins to do it justice. What sound. What music. What a record!

Side two is where the some of the best orchestral action can be found, and it is presented here with SPECTACULAR AUDIO FIDELITY the likes of which you may have never experienced. (more…)

Bernard Herrmann – Music From The Great Movie Thrillers

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This is a BEAUTIFUL London Phase 4 LP with Very Little Sign of Play. It contains music from Hitchcock classics – “Psycho” “Marnie” “North by Northwest” “Vertigo” and “The Trouble With Harry”.

Bernard Herrmann released many LPs on London Phase 4, and this is one of the better ones. Included are new recordings of scores to five Alfred Hitchcock films. Psycho opens the LP, and Herrmann has arranged the music into a 14 minute “Narrative For Orchestra.” A 10 minute suite from Marnie follows, then the main theme from North by Northwest. Side 2 starts with three selections from Vertigo and ends with “A Portrait of ‘Hitch,'” based on motifs from the score to The Trouble With Harry.


OLD PHASE 4 NOTES FROM A LONG TIME AGO

[Some of this we still agree with and some we do not, so take it for what it’s worth.]

Phase IV, Are You Serious?

Yes, absolutely. Allow me to make the case this way. Phase 4 has the life, dynamics, and deep articulate bass not found on most Golden Age recordings. There is no compression to speak of on the album, not on the best copies anyway.

Shaded Dogs may have sweeter strings and more Tubey Magic (which, as anyone who listens to live classical music knows, is mostly a euphonic coloration), but this recording sounds dramatically more like live music than most of them in every way other than soundstaging.

There are of course multiple mikes being used, and sometimes they call attention to themselves, but for the most part the stage is wide and deep enough, and the mikes far enough from the orchestral sections, to create the illusion of a real orchestra in a hall.

The tympani at the back (along with most of the percussion) are especially convincing in this regard. On the copies with the most correct top ends, the triangles and bells are shockingly lifelike, sounding, to my “mind’s ear” exactly the way they do in the concert hall.