Heavy Vinyl Mediocrities

Billy Joel – 52nd Street on Impex (Cisco)

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Sonic Grade: Side One: F / Side Two: C+

The new Impex (Cisco) 180 gram remastering of 52nd Street was cut by Kevin Gray, under the direction of Robert Pincus (aka Mr Record), at the now defunct AcousTech Mastering in Camarillo. We noted in a recent review for a much superior (how could it not be?) Hot Stamper pressing:

Side one is a joke (zero ambience, resolution, energy, etc.) but side two is actually quite good. Side two fixes the biggest problem with the album: hard, honky vocals.

In his review appearing in The Absolute Sound, Neil Gader plucks two songs out of the album’s nine as especially meritorious. Oddly enough they’re both on side two. I wonder why.  (more…)

The Who – Who By Numbers on Classic Records Heavy Vinyl

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Sonic Grade: C

Another Classic Records LP debunked.

It’s not just bass that separates the Real Thing from the Classic Reissue. It’s WEIGHT, fullness, the part of the frequency range from the lower midrange to the upper bass, that area that spans roughly 150 to 600 cycles. It’s what makes Daltry’s voice sound full and rich, not thin and modern. It’s what makes the drums solid and fat the way Johns intended. The good copies of Who’s Next and Quadrophenia have plenty of muscle in this area, and so do the imports we played. (more…)

Wes Montgomery – California Dreaming – Cisco Reviewed

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Sonic Grade: C

Another Heavy Vinyl pressing from Cisco / Impex reviewed. 

Beware any and all imitations, even this one, which I admit I used to like somewhat. They barely BEGIN to convey the qualities of the real master tape the way the best pressings do. Our Hot Stampers exhibit huge amounts of ambience and spaciousnesss, with far more energy and the kind of “see into the studio” quality that only the real thing ever seems to have.

Note especially how so much musical information is coming from the far sides of the soundfield on the best copies. The Cisco reissue makes a mockery of that wall to wall sound, sucking it into the middle and flattening it into a single plane. (more…)

John Coltrane – Lush Life – DCC and OJC Reviewed

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Sonic Grade: B or so (DCC) 
Sonic Grade: C or so (OJC) 

The DCC heavy vinyl pressing is a nice record; I remember liking it back in the day. I’m guessing it’s a bit better than the ’80s OJC, which is, like most OJC pressings, typically thin and hard. Neither one of them can hold a candle to the pressings we offer on the site. If for some reason we could not find copies of the album that substantially beat the sound of either of these two remastered LPs, we simply would not have anything to offer, since neither of these versions could be considered Hot Stampers. Nice records, sure, but Hot Stampers? Not a chance.

It was only a few months ago, early in 2016 in fact, that we chanced upon the right kind of pressing — the right era, the right label, the right stampers, the right sound. Not just the right sound though. Better sound than we ever thought this album could have.

Previously we had written:

“There are great sounding originals, but they are few and far between…”

We no longer believe that to be true. In fact we believe the opposite of that statement to be true. The original we had on hand — noisy but with reasonably good sound, or so we thought — was an absolute joke next to our best Hot Stamper pressings. Half the size, half the clarity and presence, half the life and energy, half the immediacy, half the studio space. It was simply not remotely competitive with the copies we now know (or at least believe, all knowledge being provisional) to have the best sound.

Are there better originals than the ones we’ve played? No doubt. If you want to spend your day searching for them, more power to you. And if you do find one that impresses you, we are happy to send you one of our Hot Copies to play against it. We are confident that the outcome would be clearly favorable to our pressing. Ten seconds of side one should be enough to convince you that our record is in an entirely different league, a league we had no idea even existed until just this year.

By the way, the mono original we played was by far the worst sound I have ever heard for the album. By far. (more…)

ZZ Top – Fandango – Another Warners Heavy Vinyl Mediocrity

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Sonic Grade: C

Warner Brothers remastered Fandango in 2008, so we took some domestic pressings and put them up against their Heavy Vinyl LP. The results were mixed; most of our originals pressings were lackluster, many were noisy, and we just weren’t hearing anything with the sound we thought deserved to be called a Hot Stamper.

We shelved the project for another day. In the interim we kept buying domestic pressings — originals and reissues — in the hopes that something good would come our way.

Fast forward four years. It’s 2015. We drop the needle on a random pressing and finally — finally — hear a copy that rocks like we knew a ZZ Top album should. With that LP as a benchmark we got a shootout up and running and the result is the record you see here.

How did the WB remaster fare once we had some truly Hot Stamper pressings to play it against?

Not well. It’s tonally correct, with a real top and bottom, something that a substantial number of copies cannot claim to be.

But the sound is stuck behind the speakers, veiled, and sorely lacking in energy and excitement. The transparency is of course compromised on all these new reissues, and without transparency and resolution much of the audience participation on the first side is lost. I won’t say the new pressing is boring. Let’s just say it’s a lot more boring than it should be. (more…)

Heifetz on Classic – An Overview

brahmvioli_1903_debunk

 

The RCA pressing of the Brahms Violin Concerto with  Heifetz and Reiner you see pictured, LSC 1903, is yet another Hall of Shame pressing and yet another Classic Records LP debunked.

The Classic reissue of LSC 1903 is a disaster: shrill, smeary and unmusical.

The best Heifetz records on Classic were, if memory serves, LSC 2734 (Glazunov), LSC 2603 (Bruch) and LSC 2769 (Rozsa). They aren’t nearly as offensive as the others. If you can pick one up for ten or twenty bucks, you might get your money’s worth depending, I suppose, on how critically you listen to your classical records. The CDs are better for all I know. That’s probably the first place to go, considering Classic’s generally poor track record.
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Who’s Next… to Remaster the Album Badly? Our Audiophile LP Overview

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The following was written in the early 2000s.

Who’s Next has been remastered for audiophiles many, many times, more often than not quite badly in our opinion. To be fair we should point out that our opinion has changed quite a few times over the course of the last twenty years.

This then is our story.

MCA MASTERPHILE
Back in the days when I was foolishly in the thrall of half-speed mastered audiophile pressings, I thought that the MCA Masterphile was king. That was probably the mid to late ’80s.

BRITISH TRACK LABEL ORIGINALS
By the early ’90s I had discovered how good the Black Label Original British Track pressings could be and started preferring those. A bit murky but tubey-magical, full and rich, precisely the way a good British rock recording (Faces, Jethro Tull) should be.

JAPANESE AND GERMAN
Of course by then I had played numerous Japanese and German pressings, none of which sounded right to my ears, then or now.

MCA HEAVY VINYL
In 1995 the MCA Heavy Vinyl version came out, mastered by Kevin Gray. I quite liked it at the time but no longer do; it’s brightened up and much of the fine detail of the recording is missing. It’s also notoriously badly pressed, resulting in stitches in the vinyl that are quite audible on practically every copy.
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Joni Mitchell Blue – Play The Game, Not the Album

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Another in our series of Home Audio Exercises, one we created all the way back in 2007. If you want to learn more about doing your own shootouts this listing has lots of good advice.

In 2007 we mentioned to our customers that we would not be carrying the new 180 gram Rhino pressing of Blue. We noted:

Since Kevin and Steve are friends of mine I won’t belabor its shortcomings. Let’s just say I think you can do better.

Down the road when we’ve had a chance to do a shootout amongst all our best copies, we will be offering something more to our liking. I recommend instead — and this is coming from a die-hard LP guy, someone who disconnected his home CD player over two years ago and only plays the damn things in the car — that you pick yourself up a nice used copy of the gold CD Hoffman mastered for DCC. It’s wonderful.

Some people are already upset with us over this decision, actually going so far as to question our motives, if not our sanity. Without a doubt we feel this will end up being the single most controversial stance we’ve ever taken. I predict that a great number of audiophiles are going to get really upset over our criticism of this new pressing. We are going to get emails like crazy asking us to explain what on earth could possibly be wrong with such a wonderful sounding LP. The writers of these emails will no doubt extoll its virtues relative to the other pressings they may have heard, and, finding no other reasonable explanation, these writers will feel impelled to question both the quality of our playback equipment and — yes, it’s true — even our ability to recognize a good record when it’s spinning right on our very own turntable. (more…)

Rickie Lee Jones on Rhino Heavy Vinyl – Not My Idea of Good Sound

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Sonic Grade: C

We were fairly unimpressed with the Rickie Lee Jones on Warners that came out a few years back. It has that phony Modern Mastering sound we find so unappealing on the Rhino reissue of Blue. (We seem to be pretty much alone in not liking that one, and we’re proud to say we still don’t like it. Hey, play The Blue Game and maybe you’ll see why.)

We liked the new Sweet Baby James Hoffman and Gray cut. We note in our review that “Hoffman and Gray can take pride in this Sweet Baby James. It’s some of the best work I’ve heard from them to date. If more DCC and Heavy Vinyl reissues sounded like this, we wouldn’t be so critical of them. Unfortunately they don’t, and there are scores of pages of commentary on the site to back up that statement for those of you interested in the subject.”

We went on to say “The amazing transparency and dynamic energy of the best originals will probably never be equalled by an audiophile pressing like this. (It hasn’t happened yet and we remain skeptical of the possibility.) Considering that this pressing is sure to beat most reissues, imports and such like, we have no problem heartily recommending it to our customers, especially at the price.” (more…)

The Beatles Please Please Me – We Review the Mobile Fidelity Half-Speed

 

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Sonic Grade: C

Another Half Speed reviewed.

If you own the MoFi LP, do yourself a favor and buy one of our Hot Stamper pressings. (Actually any good British import pressing will do.) What’s the first thing you will notice other than correct tonality, better bass and a lot more “life” overall?

No spit! As we’ve commented elsewhere, because of the wacky cutting system they used, MoFis are full of sibilance. 

As I was playing this record many years ago, maybe by about the fifth or sixth song it occurred to me that I hadn’t been hearing the spit that I was used to from my MoFi LP. You don’t notice it when it’s not there. But your MoFi sure has a bad case of spitty vocals. If you never noticed them before, you will now. (more…)