We love the album and we hope you do too. If you have some time on your hands — maybe a bit too much time on your hands — please feel free to check out our commentaries. (more…)
Man, this record has more TUBEY MAGIC than any Sinatra record I can remember playing.
Find me a Sinatra CD, any Sinatra CD, that sounds like this and I will eat it.
If you want to know what the best sounding Sinatra records sound like, this is your chance. Folks, in my opinion it simply does not get any better than a killer Hot Stamper pressing of Strangers In The Night. (more…)
More on Kiln House
More Forgotten Classics
Kiln House is one of the all-time great Fleetwood Mac albums. It’s the first album they recorded after Peter Green left. With Green gone Jeremy Spencer’s influence came to the fore. Apparently he was quite a fan of Buddy Holly. His songs are excellent: straightforward and unerringly melodic.
The co-leader for Kiln House is Danny Kirwan, and he rocks the hell out of this album. Three of the best songs Fleetwood Mac ever did, regardless of incarnation, are here: Tell Me All The Things You Do, Station Man and Jewel Eyed Judy, all written by Kirwan (with the help of others). His guitar work on these three songs is blistering.
Any Fleetwood Mac greatest hits collection would be a joke without these tracks. Of course they are consistently missing from all such compilations, at least the ones with which I am familiar. The sad fact is that few people miss them because few people have ever heard them.
The closest thing I can think of to the kind of music the new Mac plays is moody rock of the middle-period Beatles. Kiln House is similar to Beatles ’65 in its dual concerns with vintage rock ‘n’ roll and muted, romantic pieces.Jeremy Spencer took care of the former area, while Danny Kirwan extended the style best represented by McCartney’s “I’ll Follow the Sun.”
- This superb 2 LP set boasts excellent Double Plus (A++) sound or BETTER on all four sides!
- Truly one of the greatest live albums of all time, recorded late at night in the big room at the Sands Hotel in Vegas
- This is Basie and Sinatra in their natural habitat and in their prime, putting on the show of a lifetime – quiet vinyl too
- “Basie and the orchestra are swinging and dynamic, inspiring a textured, dramatic, and thoroughly enjoyable performance from Sinatra … the definitive portrait of Frank Sinatra in the ’60s.” – AMG
This double album presents Sinatra and Basie at the height of their powers, in a setting especially conducive to both men’s music, the big room at the Sands Hotel in Vegas. If you missed it — and I’m sure most all of us did — here’s your chance to go back in time and be seated with the beautiful people front row center. This two disc all tube-mastered analog set is practically the only way you’ll ever be able to hear the greatest vocalist of his generation — in his prime no less — fronting one of the swingingest big bands of the time.
You Are There
The presence and immediacy here are staggering. Turn it up and Frank is right between your speakers, putting on the performance of a lifetime. (more…)
… who seems to have a rather nasty bronchial condition…
Another in our series of Home Audio Exercises.
Like Heart’s Little Queen album, Aqualung presents us with a Demo Disc / Test Disc that really puts a stereo through its paces, assuming it’s the kind of stereo that’s designed to play an album like Aqualung.
Not many audiophile systems I’ve run across over the years were capable of reproducing the Big Rock Sound this album requires, but perhaps you have one and would like to use the album to test some of your tweaks and components. I used it to show me how bad sounding some of the audiophile wire I was testing really was.
Here’s what I wrote:
A quick note about some wire testing I was doing a while back. My favorite wire testing record at the time (2007)? None other than Aqualung!
Here’s why: Big Whomp Factor. Take the whomp out of Aqualung and the music simply doesn’t work, at all. To rock you need whomp, and much of Aqualung wants to rock.
Sonic Grade: F
Hopelessly murky, muddy, opaque, ambience-free sound, and so artificial. I honestly cannot make any sense of it. Pure sludge. This is someone’s idea of analog? It sure ain’t mine.
Music for robots? And Kamikiriad from 1993 was musically every bit as bad.
Why waste vinyl on crap like this?
Many copies we played would work for the heavy songs and then fall short on the softer numbers. Others had gorgeous sound on the country-tinged numbers but couldn’t deliever any whomp for the rockers. Only a select group of copies could hold their own in all of the styles and engage us from start to finish; we’re pleased to present those exceptional pressings as the Hot Stamper copies of Harvest that so many of you have been begging for.
Harvest is undeniably one of the most beloved albums in all of classic rock. We get letters all the time from customers hoping to get their hands on Hot Stamper copies, but we’ll never have the supply to keep up with the demand. It’s a tough nut to crack, because a Hot Stamper Harvest has to get so many things right — the lovely pedal steel guitar on Out On The Weekend, the LSO on A Man Needs A Maid and There’s A World (engineered by Glyn Johns), Neil’s grungy electric guitar on Alabama, and so much more.
In-Depth Track Commentary
Out on the Weekend
We love the sound of the drums on Neil Young records — think of the punchy kick drum on After The Gold Rush and the punchy thwack of the snare on Zuma. On the best copies, this song should have the kind of BIG, BOLD Neil Young drum sound we’ve fallen in love with. The pedal steel guitar sounds out of this world on our Hot Stampers. (more…)
- With an insanely good Triple Plus (A+++) side one and an excellent Double Plus (A++) side two, this early stereo pressing was the best copy we played in our most recent shootout
- Big, rich and natural, the new material on this album was recorded in 1964, with Sinatra’s voice in very fine form
- About as quiet as we can find them — Mint Minus to Mint Minus Minus
- “The highlight of the record was the hit title song, which featured a subdued but forceful and steady backbeat. The rhythm itself was indicative of Sinatra’s effort to accept the new popular music.”
This original Reprise LP has the MIDRANGE MAGIC that’s missing from the later reissues. It gives you the sense that Frank Sinatra is right in front of you. (more…)
The main reason it’s so difficult to find a good sounding pressing of this record is that most copies have a tendency towards hardness, shrillness and aggressiveness. There is a great deal of mid- to high-frequency information in this recording, and the problems arise when you take all that energy and try to stamp it into a piece of domestic vinyl.
If the vinyl wasn’t good on the day they pressed the record, it doesn’t matter how good the mastering is. The result is grain and grunge. Since Joni pushes her voice hard into her higher registers on many of these songs it’s often enough to make you leave the room. At the very least you would have to turn down the volume.
That’s on the copies that are mastered right! The copies that are mastered with thin and aggressive sound to start with can only get worse. Those are the rule, not the exception.
Breathy Vocals and Hot Stampers (more…)
- This killer copy has a Triple Plus (A+++) side one backed with a Double to Triple Plus (A++ to A+++) side two
- Superb Tubey Magical mid-’60s Sinatra sound which was recorded in various sessions from 1961 to 1965
- The sound on this original Reprise is richer, fuller and, importantly, SMOOTHER than most of the other pressings we played
- Allmusic: “When Sinatra delivers, as he does on the show-stopper “Luck Be a Lady,” the results are pretty spectacular…”
The knock on this album is that with nine different arrangers and tracks recorded in different years, consistency is not its strong suit.
But is that really fair? Allmusic complained about the performances and arrangements but we certainly wouldn’t call any track here second rate. Most of the album strikes us as Sinatra at his best. (more…)