This is a WONDERFUL sounding, very quiet original Shaded Dog pressing of one of the rarest Living Stereo titles. Dropping the needle on side one was a shock — the sound was terrible: thin, shrill and practically unlistenable. Since I know this to be an exceptionally good sounding record, there was only one possibility: reverse absolute phase. Sure enough, the magic of Living Stereo reappeared. If you can’t reverse your phase, this is not the record for you!
Are they all that way? I have no way of knowing. I run across a clean quiet copy like this about every ten years. If any of you out there own this record and yours is not reversed phase let me know what your stamper numbers are, I’d be very interested.
This has always been a favorite title with audiophiles. It’s full of lovely orchestral colors, much like The Nutcracker. As usual, Fiedler and the Boston Pops are accorded superb sound.
A Shootout Winning copy with Triple Plus (A+++) sound on both sides – this bad boy is a HUGE step up from anything Perez Prado record you have ever heard, guaranteed
With Tubey Magical Stereoscopic presentation like you will not believe; this copy is spacious, sweet and positively dripping with ambience
The driving, syncopated, heavily percussive arrangements add immensely to the fun, with the timbre of every scratcher and drum rendered in glorious Technicolor sound
This is Vintage All Tube Analog at its best – the magic hidden in the grooves of the record really comes through on this pressing
This SUPERB sounding copy of Prez has a lot in common with the other Living Stereo / Exotica titles we’ve listed over the years, albums by the likes of Henry Mancini, Esquivel, Arthur Lyman, Dick Schory, Edmundo Ros, Ted Heath, Martin Denny and a handful of others. Talk about making your speakers disappear, these records will do it!(more…)
This White Hot Stamper Plum Victrola pressing has GORGEOUS Tubey Magical Analog sound the likes of which you may have never heard. Yes, it’s that good! Recorded in England by Decca in 1959, with Solti at the helm of the Orchestra of the Royal Opera House, Covent Garden, the music herein was originally released on the album Venice, LSC 2313, with a lovely die-cut cover. Six years later, still clearly in the Golden Age of Tubes, it was reissued on Victrola, and it would be hard to imagine it sounding any better than it does here. (We keep a noisy Venice as a ref but it sure doesn’t sound like this pressing.)
At one time we had a copy of this record that we felt suffered from reversed absolute polarity, but we found no such problem with this copy — it sounds amazing!(more…)
This rare RCA Shaded Dog has SUPERB SOUND as well as a top performance. Super Hot Stampers for both sides means that this pressing has the real Living Stereo magic in spades. Unlike most of the RCA concerto recordings (Rubinstein’s come immediately to mind in this regard), the brilliant soloist featured here is not overly spotlighted, hence the more credible “concert hall” sound. The piano is part of the orchestra, allowing all the contributions of the musicians to be heard clearly, with each of the orchestral sections laid out beautifully across an especially huge and deep Orchestra Hall stage.
The spaciousness and three-dimensionality of the recording here is also exceptional. Through the efforts and skill of the RCA engineers, that striking openness in the recording never comes at the expense of a tonally correct and natural sounding piano. The piano is clear, never lost in the space of the huge hall the way it would be on an EMI from the ’70s for example. (All that weird SQ washed-out sound is just not our thing, sorry.)
There may be other performances of merit, but I know of no recording of this music with better sound. If you are demonstrating naturalistic recorded sound, not bombastic Hi-Fi Spectacularity, this pressing truly qualifies as a DEMO DISC.(more…)
Another in our series of Home Audio Exercises with advice on what you should be listening for when critically evaluating this kind of recording.
Do you want a recording that is going to put your system to the test? Well this is that record! That violin is REAL. As you compare equipment or tweak your system, you will hear the sound of that violin change and it should be obvious when it gets better and when it gets worse. (more…)
As you may know, this is a ridiculously difficult Shaded Dog to find in clean condition. Its companion, the Brahms disc with Richter (LSC 2466), is ten times more common and not half as good.
This pressing has the real Living Stereo magic in spades, but unlike most of the RCA concerto recordings, Richter, the brilliant soloist featured here, is not overly spotlighted, hence the much more natural “concert hall” sound.(more…)
Two insanely good sounding sides with each rating a shootout winning Triple Plus (A+++)
The sound here is vintage 1962 Living Stereo at its best – big, rich, relaxed, tonally correct and full of Tubey Magic
This copy is unusually quiet for a Black Label stereo original – it’s Mint Minus Minus with no audible marks of any kind
4 1/2 Stars: “Rollins’ characteristically huge tone, relentless harmonic and rhythmic inventiveness, and fierce solos were consistently impressive. Not only did he state the melody clearly and superbly, but his ideas and pacing were remarkable; no solo rambled and his phrases were lean, thick and furious.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1962 All Tube Analog sound can be, this killer copy will do the trick.(more…)
This copy had practically no smear on either the violin or the orchestra. Try to find a violin concerto record with no smear. We often say that Shaded Dogs, being vintage All Tube recordings, tend to have tube smear. But what about the ’70s Transistor Mastered Red Label pressings – where does their smear come from?
Let’s face it: records from every era more often than not have some smear and we can never really know what accounts for it. The key thing is to be able to recognize it for what it is. (We find modern records, especially those pressed at RTI, to be quite smeary as a rule. They also tend to be congested, blurry, thick, veiled, and ambience-challenged. For some reason most audiophiles — and the reviewers who write for them — rarely seem to notice these shortcomings.)(more…)
Paul Desmond’s 1963 Cool Jazz Classic returns with superb Double Plus (A++) sound on both sides – quiet vinyl too
The brilliant Ray Hall engineered – anyone hearing this copy will understand exactly why we love to play his fabulous ’60s recordings here at Better Records
Desmond joins forces here with Jim Hall, a top player whose guitar stylings perfectly complement Paul’s velvety tone
4 1/2 stars: “Everyone wanted Desmond to come up with a sequel to the monster hit “Take Five”; and so he did, reworking the tune and playfully designating the meter as 10/8. Hence “Take Ten,” a worthy sequel… There is not a single track here that isn’t loaded with ingeniously worked out, always melodic ideas.”
For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good 1963 All Tube Analog sound can be, this killer copy will do the trick.(more…)
This RCA reissue pressing of LSC 2328 has some of the BEST SOUND we have ever heard for The Nutcracker, and we’ve played them by the dozens, on the greatest Golden Age labels of all time, including the likes of Mercury, RCA and London. In a somewhat (but not too) surprising turn of events, the reissue pressing we are offering here beat all the originals and early reissues we could throw at it. Finally, this legendary Mohr/Layton production can be heard in its full glory! (more…)