Atlantic Black Label LP with lovely sound! This is a famously rare and collectible jazz record by the amazing Brazilian guitarist Luiz Bonfa.
1958, the year this record was made, was a very good year for high quality recordings of all types of music.
Click here to see the records currently on the site that were recorded or released in 1958 and here to see the records from 1958 that we’ve reviewed, a substantially larger group as you can imagine, more than 100 in fact. (more…)
The first Top Copy to ever hit the site! Double Plus (A++) on side one, Triple Plus (A+++) on side two
Easily the group’s best sounding studio recording and especially impressive on a copy like this
Drop the needle on Midnight Rider or In Memory Of Elizabeth Read to hear what this copy can do. You get lots of extension here both up top and down low that makes the overall sound far more engaging and musical than what you’d hear on a typical copy.
One of the biggest problems we ran into with this shootout was thin, recessed or edgy vocals. This is a band known for their rockin’ guitar jams, so it shouldn’t be a huge surprise that the vocals are not where they focused their energy when recording. I wish the vocals here were a bit fuller but at least they have enough presence to put them front and center.
Revival Don’t Keep Me Wonderin’ Midnight Rider In Memory of Elizabeth Reed
Hoochie Coochie Man Please Call Home Leave My Blues at Home
AMG 5 Rave Review
The best studio album in the group’s history, electric blues with an acoustic texture, virtuoso lead, slide, and organ playing, and a killer selection of songs, including “Midnight Rider,” “Revival,” “Don’t Keep Me Wonderin’,” and “In Memory of Elizabeth Reed” in its embryonic studio version, which is pretty impressive even at a mere six minutes and change. They also do the best white cover of Willie Dixon’s “Hoochie Coochie Man” anyone’s ever likely to hear.
Siren is one of our favorite Roxy albums, right up there with the first album and well ahead of the commercially appealing Avalon. After reading a rave review in Rolling Stone of the album back in 1975 I took the plunge, bought a copy at my local Tower Records and instantly fell in love with it. As is my wont, I then proceeded to work my way through their earlier catalog, which was quite an adventure. It takes scores of plays to understand where the band is coming from on the early albums and what it is they’re trying to do. Now I listen to each of the first five releases on a regular basis.
Somehow they never seem to get old, even after more than thirty years.
Of all the Roxy albums (with the exception of Avalon) this is probably the best way “in” to the band’s music. The earlier albums are more raucous, the later ones more rhythmically driven — Siren catches them at their peak, with, as other reviewers have noted, all good songs and no bad ones.(more…)
It’s been years since I last played this album, and I’m happy, ecstatic even, to report that it sounds far better than I remember it sounding. In the old days I recall it as somewhat dry, flat and transistory. Now it’s BIG and BOLD, revealing a band that’s on fire in the studio.
This White Hot side two had by far the most energy of any side we played, showing us just what a monster rocker this album can be when it’s mastered and pressed right. The reviews were mixed when the album was released in 1978 but time has been kind to it — after hearing the killer copies I would rank it up at the top with the best of Ferry’s and Roxy’s work.
The first three tracks are uptempo barn burners sure to get you out of any funk you may find yourself in, day or night.(more…)
Shootout Winning Triple Plus (A+++) sound on both sides and the first to hit the site in many years
This UK Original Plum and Orange pressing is by far the best way to hear the album, but finding a clean one was no walk in the park
“In an era when psychedelic meanderings were the order of the day, Yes delivered a surprisingly focused and exciting record that covered lots of bases…” – All Music
I wish I could say that this was the sonic (or musical) equivalent of Fragile of The Yes Album — or even the second album, Time and a Word — but that’s simply not the case. Still, there’s a lot to like here and it’s fun to hear the band developing their style and growing into the pop-prog behemoth they would become with their third release.
What shootout winning sides such as these have to offer is not hard to hear:
The biggest, most immediate staging in the largest acoustic space
The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1969
Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
Natural tonality in the midrange — with all the instruments (and effects!) having the correct timbre
Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is of course the only way to hear all of the above.(more…)
A stunning copy of The Dock of the Bay — Triple Plus (A+++) on the first side and Double Plus (A++) on the second
A well-recorded album, with sound that’s incredibly big, rich and Tubey Magical yet still clean, clear and spacious
About as quiet as we can find them, Mint Minus to Mint Minus Minus throughout – most copies we see are just wrecked
“…this is an impossible record not to love … Cropper chose his tracks well, selecting some of the strongest and most unusual among the late singer’s orphaned songs…” — All Music
This vintage Atco pressing has the kind of Tubey Magical Midrange that modern records cannot even begin to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.(more…)
This listing from 2005 (!) contains commentary about VTA adjustment using the track Helplessly Hoping from a Hot Stamper pressing of CSN’s So Far.
Helplessly Hoping is a wonderful song that has a lot of energy in the midrange and upper midrange which is difficult to get right. Just today (4/25/05) I was playing around with VTA, having recently installed a new Dynavector DV-20x on my playgrading table (a real sweetheart, by the way), and this song showed me EXACTLY how to get the VTA right.
VTA is all about balance. The reason this song is so good for adjusting VTA is that the guitar at the opening is a little smooth and the harmony vocals that come in after the intro can be a little bright. Finding the balance between these two elements is key to getting the VTA adjusted properly.(more…)
One of the few copies to ever hit the site and boy is it KILLER — Triple Plus (A+++) sound on the second side and Double Plus (A++) on the first
The sound is incredibly rich, full and Tubey Magical with tons of energy and a nice extended top end
Robert Christgau noted that “Charles tried many times, but except for Modern Sounds, he never again assembled such a consistent album in this mode.”
“Charles’ voice is heard throughout in peak form, giving soul to even the veteran standards.”
Tom Dowd engineered on Ampex 3 Track through an All Tube chain (this is 1959 after all), Quincy Jones did the arrangements, and Ray sang the hell out of this great batch of songs — all the ingredients in a recipe for soul are here.
Top tracks on the first side: Let The Good Times Roll, It Had To Be You and When Your Lover Has Gone.(more…)
Outstanding Double Plus (A++) sound, or close to it, on both sides of this early pressing of Coltrane’s Sound
An authentic Green and Blue Atlantic stereo pressing, the only version of the album that has the potential for Hot Stamper sound, which explains why this is only the second copy to hit the site since 2011
“This is one of the most highly underrated entries in Coltrane’s voluminous catalog. Although the same overwhelming attention bestowed upon My Favorite Things was not given to Coltrane’s Sound upon its initial release, both were actually recorded during the same three-day period in the fall of 1960… these recordings remain among Trane’s finest.”
This is yet another superb Tom Dowd recording of Coltrane in his prime, with support from the brilliant McCoy Tyner and Elvin Jones.
Forget the later Red and Green Atlantic pressings. Every one we’ve ever played was flat, dry, and thin. They sound like the cheap reissues that we Atlantic churned out in the ’70s. Don’t get me wrong; there are some good sounding records on the Red and Green label, but you really have to know what you are doing, or be really lucky, to find them.
We’ve played them by the score, and found relatively few winners among a slough of losers. If you want to take your chances on some, knock yourself out, more power to you, but expect to come up with nothing to show for your time and money almost every time. That’s been our experience anyway.
And be very thankful if you happen to run into one of these early Atlantic stereo pressings, especially if it plays as quietly as this one does. Few Classic Coltrane albums survived the jazz lovers of the day and their awful turntables.(more…)