Heavy Vinyl Disasters

16 Cisco (and Impex) Titles Reviewed

warnehunte_cisco

Some of Cisco’s records are quite good.

Here is a list of titles that we have reviewed, sorted alphabetically by artist.

The one you see above we were not too happy with.

Sonic Grade: F

A Hall of Shame pressing.

“Some of the worst sound I have ever heard in my life. An absolute disgrace, both sonically and musically.”

Check out our Heavy Vinyl Scorecard to read all about the latest winners and losers.

Bad Santana LPs

santamofi

This is one of the MoFi LPs we’ve reviewed on the site. This MoFi link will take you to reviews of more than 90 more.

We also have a Hall of Shame for bad sounding records such as these. It currently has 250 members but could easily have double that if someone wanted to take the time to make entries for all the bad audiophile pressings we’ve played over the years. (That person would have to be me and I don’t want to do it.)

Santana is a record we admit to having liked a bit when it first came out. Since then we have changed our minds. As embarrassing as it may be, clearly We Was Wrong.

It’s just too damn compressed and lifeless. The Whomp Factor on this pressing is Zero. Since whomp is critical to the sound of Santana’s music, it’s Game Over for us. The review below is exactly what we wrote at the time the record came in. We tried to like it, but it’s clear to us now that we tried to like it too hard. Please accept our apologies.

(more…)

This Is Your Idea of Analog?

stevensteafor

Cat Stevens – 200 Grams of Tea for the Tillerman

Dear Record Loving Audiophiles of Earth,

I’m afraid we have some bad news. Regrettably we must inform you that the 2011 edition of Tea for the Tillerman pressed by Analogue Productions on Heavy Vinyl doesn’t sound very good. We know you were all hoping for the best. We also know that you must be very disappointed to hear this unwelcome news.

But the record is what it is, and what it is is not very good. Its specific shortcomings are many and will be considered in at length in our review below.
(more…)

Our Hall of Shame – Nearly 300 Strong – Thanks Classic Records!

Awful in Every Way

Mussorgsky – Pictures at an Exhibition

Classic Records Debunked

Sonic Grade: F

A Hall of Shame pressing and another Classic Records LP debunked.

The shrillness, the hardness, the sourness, the loss of texture to the strings, the phony boosted deep bass — this is the kind of sound that makes my skin crawl. After a minute or two I’ve had it. And the performance is dreadful as well.

HP put this on his TAS List? Yes he did!

More Pictures at an Exhibition

What do you get with Hot Stampers compared to the Classic Heavy Vinyl reissue? Dramatically more warmth, sweetness, delicacy, transparency, space, energy, size, naturalness (no boost on the top end or the bottom, a common failing of anything on Classic); in other words, the kind of difference you almost ALWAYS get comparing the best vintage pressings with their modern remastered counterparts, in our experience anyway. (more…)

If You Can’t Make a Good Record, Why Make Any Record At All?

steelcantb_debunk_1361980482

Steely Dan – Can’t Buy A Thrill

Speakers Corner Debunked

This has to be one of the worst sounding versions ever pressed. You think the average ABC or MCA pressing is opaque, flat and lifeless, not to mention compromised at both ends of the frequency spectrum? You ain’t heard nothin’ yet!

As bad as the typical copy of this album is, the Speakers Corner Heavy Vinyl is even worse, with not a single redeeming quality to its credit. If this is what passes for an Audiophile Record these days, and it is, it’s just one more nail in the coffin for Heavy Vinyl.

But that’s not the half of it. Go to Acoustic Sounds’ website and read all the positive customer reviews — they love it! Is there any heavy vinyl pressing on the planet that a sizable contingent of audiophiles won’t say something nice about, no matter how bad it sounds? I can’t think of one.

To sum up, this record is nothing less than an affront to analog itself. I guarantee you the CD is better, if you get a good one. I own four or five and the best of them has far more musical energy than this thick, dull, opaque and boring piece of audiophile analog trash.

It was probably made from a digital copy of the master, or more likely a digital copy of an analog dub of the master — three generations, that’s sure what it sounds like — but that’s no excuse.

If you can’t make a good record, don’t make any record at all. Shelve the project. The audiophile vinyl world is drowning in bad sounding pressings; we don’t need any more thank you very much.

If you think this Neil Young record sounds good…

Neil-Young-Greatest-Hits-2004-Front-Cover-39885

Sonic Grade: F

A Hall of Shame pressing and another Classic Records LP debunked.

Some reviewers loved it, we of course hated it, so what else is new? If you think this record sounds good, one thing is certain: you don’t own many good sounding Neil Young records! You might not own any, but don’t feel bad; not many audiophiles do, if the experience of my audiophile friends is any guide.
(more…)

Never a Dull Moment – Unless You’re Playing the DCC Heavy Vinyl…

xxx.jpg

In which case you are in for an unending string of dull moments (see below). 

Never A Dull Moment

We were thrilled when we dropped the needle on side one and heard sound that was AMAZINGLY airy, open, and spacious.

It’s got all the elements necessary to let this music REALLY ROCK — stunning presence; super punchy drums; deep, tight bass; and tons of life and energy. Rod’s voice sounds just right with lots of breath, texture, and ambience. The sound is clean, clear, smooth, and sweet — that’s our sound.

Side two here is nearly as good and dramatically better sounding than most. Listen to the percussion on Angel — you can really hear all the transients and the sound of the drum skins.

On the same track, the meaty guitar in the left channel sounds mind-blowingly good. The bass is deep and well-defined, and the sound of the drums is awesome in every way. Who has a better drum sound than Rod Stewart on his two best albums? (more…)

Rhino Records Overview

xxx.jpg

Rhino Records has made a mockery of the analog medium.

Sonic Grade: F

A Hall of Shame pressing and another Heavy Vinyl LP debunked.

The 2003 Rhino reissue on heavy vinyl of Workingman’s Dead is absolutely awful. It sounds like a bad cassette. The CD of the album that I own is superb, which means that the tapes are not the problem, bad mastering and pressing are.

More Grateful Dead

Rhino bills their releases as pressed on “180 gram High Performance Vinyl”. However, if they are using performance to refer to sound quality, we have found the performance of their vinyl to be quite low, lower than the average copy one might stumble upon in the used record bins.

The CD versions of most of the LP titles they released early on are far better sounding than the lifeless, flat, pinched, so-called audiophile pressings they released starting around 2000. The mastering engineer for this garbage actually has the nerve to feature his name in the ads for the records. He should be run out of town, not promoted as a keeper of the faith and defender of the virtues of “vinyl”. If this is what vinyl really sounds like I would have switched to CD a long time ago.

And the amazing thing is, as bad as these records are, there are people who like them! I’ve read postings on the internet from people who say the sound on these records is just fine.

The Mobile Fidelity Hall of Shame

stevetease_debunked_1220815828

The MoFi Hall of Shame

40+ strong but the real number would be at least double that and probably more like triple that figure.

But who has time to make listings for all the bad records this label has released?

In case you don’t already know, one of the worst sounding, if not THE WORST SOUNDING VERSION OF ALL TIME, is the Mobile Fidelity Anadisq pressing that came out in the ’90s. If you own that record, you really owe it to yourself to pull it out and play it. It’s just a mess and it should sound like a mess, whether you have anything else to compare it to or not.

It is my contention that there is no audiophile pressing on the face of the Earth that can compete with the best sounding original Teaser and the Firecats. Of ANY music. This is a sound I simply don’t experience when playing modern mastered records. There is a magic in these grooves that seems to be impossible to recapture. Perhaps one day I’ll be proven wrong, but that day is not upon us yet. Until then, this is the king.Speaking of stereo improvements, a record like this is the reward for for the endless hours of effort and huge expense an audiophile must invest over the course of years — if not decades — to achieve the kind of reproduction a recording like this demands.

This record, on the right system, is a thrill that can not be experienced any other way.

More Teaser and the Firecat

Julie Is Her Name – A Boxstar Bomb

 

londojulieis_debunk_1258562077

A Hall of Shame pressing from Cisco / Impex / Boxstar.

One question: Where’s the Tubey Magic?

We would never have pointed you in the direction of this awful Boxstar 45 of Julie Is Her Name, cut by Bernie Grundman, supposedly on tube equipment. I regret to say that we actually sold some copies, but in my defense I can honestly and truthfully claim that we never wrote a single nice thing about the sound of the record. That has to count for something, right?

We found the Tubey Magic on his pressing to be non-existent, as non-existent as it is on practically every Classic Record release he cut. If you have his version you are in for quite a treat when you finally get this one home and on your table. There is a world of difference between the sound of the two versions and we would be very surprised if it takes you more than ten seconds to hear it.

See all of our Julie London albums in stock

What to Listen For (WTLF)

On side one listen to how rich the bottom end is on Barney Kessel’s guitar. The Tubey Magic on this side is off the charts. Some copies can be dry, but that is clearly not a problem on this one. The naturalness of the presentation puts this album right at the top of best sounding female vocal albums of all time.

To take nothing away from her performance, which got better with every copy we played. Julie’s rendition of Cry Me a River may be definitive.

If only Ella Fitzgerald on Clap Hands got this kind of sound! As good as the best copies of that album are, this record takes the concept of intimate female vocals to an entirely new level. (more…)