Check out our Heavy Vinyl Scorecard to read all about the latest winners and losers. When such records are clearly inferior to their mass-produced counterparts (Heavy Vinyl pressings are mass-produced too by the way), we put them in our Hall of Shame.
Reasonably good bass, we’ll give it that, but no top end and no Tubey Magic. More of Ron McMaster’s handiwork and the result is a record that simply has no reason to exist. The AVERAGE original pressing sitting in your local record store bin right now for probably all of five bucks will MURDER this piece of crap. (more…)
The Rhino Heavy Vinyl reissue of this album was Dead On Arrival the minute it hit my turntable. No top, way too much bottom, dramatically less ambience than the average copy — this one is a disaster on every level.
Rhino Records has really made a mockery of the analog medium. Rhino touts their releases as being 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.
Classic Records ruined this album, as expected. Their version is dramatically more aggressive, edgy and smeared than the better vintage pressings. In fact it’s just plain awful, like most of the classical recordings they remastered.
We have a section for all the Classical Records we have reviewed on the site to date.
Our Zoo label LP MURDERED the Classic heavy vinyl reissue. It’s not even close. The Classic is a opaque, turgid, muffled piece of sh*t compared to the Zoo vinyl pressing we had on hand to play, and even the CD will kill this embarrassing audiophile reissue.
This is not the easiest record to reproduce, but if you have a big dynamic system, it will really ROCK. I happen to think it’s the best thing Matthew Sweet ever did, and you deserve to hear it sound right, which means stick with the thin, good sounding vinyl and not this heavy RTI trash from Classic.
There is a boatload of TUBEY MAGIC to be heard on the early pressings, due no doubt to the fact that they are mastered with tube equipment, but not much on this Classic repress. The difference is striking.
Compressed, sucked-out mids, no deep bass and muddy mid-bass, the mastering of this album is an absolute disaster on every level. If you want to know how clueless the average audiophile is, a quick Google search will bring up plenty of positive comments from listeners and reviewers alike.
We played our very good sounding Nautilus pressing against the 180g Discovery reissue that Doug Sax remastered and it SMOKED it. What a muddy piece of trash that Discovery pressing is.
Lee Ritenour has long been the perfect studio musician, one who can melt into the background without making any impact. While he possesses impressive technique, Ritenour has mostly played instrumental pop throughout his career, sometimes with a Brazilian flavor. His few jazz efforts have found him essentially imitating Wes Montgomery, but despite that he has been consistently popular since the mid-’70s. After touring with Sergio Mendes’ Brasil ’77 in 1973, Ritenour became a very busy studio guitarist in Los Angeles, taking time off for occasional tours with his groups and in the mid-’90s with Bob James in Fourplay. He also recorded many albums as a leader.
We had two copies of the Heavy Simply Vinyl pressing to audition as part of our last big shootout a few years back. We used to actually like it, but it now sounds worse than we remember, especially in the low end, which is a blurry mess. Better than any domestic copy I suppose, but that’s not really saying much. (more…)