Columbia – 360 Winners

Simon & Garfunkel – Bridge Over Troubled Water

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Reviews and Commentaries for Bridge Over Troubled Water

  • This pressing of Simon & Garfunkel’s classic boasts a KILLER Shootout Winning Triple Plus (A+++) side one mated to a seriously good Double Plus (A++) side two
  • There’s a reason you see this title on our site so infrequently – we have a devil of a time finding lightly-played 360s without significant marks or surface noise, especially on the title track
  • The sound is big, lively, and clear, with the kind of Tubey Magical richness that only the best 360 pressings can offer
  • Surely this is by far the toughest album of theirs to find with top quality sound and decent surfaces
  • This Magnum Opus ended the duo’s collaboration with a ginormous over-the-top production, which taxed the recording technology of the day and is sure to tax any system that attempts to reproduce it
  • 5 stars: “Perhaps the most delicately textured album to close out the 1960s from any major rock act… the songs matched the standard of craftsmanship that had been established on the duo’s two prior albums”
  • We’ve auditioned many pressings of BOTW, including the Mobile Fidelity from 1984, the CBS Half-Speed from 1980, and the Classic Records Heavy Vinyl pressing from 1999. There have been many more remastered since these came out, but we don’t see any reason to expect them to be any better than the consistently second- and third-rate records currently being made these days of other titles, so we haven’t auditioned any of the newer pressings and have no plans to at this time. If any of the labels currently making records start to make good ones, please let us know.

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Bob Dylan – Bringing It All Back Home

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More Vintage Columbia Pressings

  • This vintage 360 Stereo copy was doing pretty much everything right, earning superb Double Plus (A++) grades or BETTER from start to finish – exceptionally quiet vinyl too
  • If this price seems high, keep in mind that the top copy from our most recent shootout went for $1200, and the vinyl was just as quiet
  • These early pressings can be killer when you find one like this – they’re clearly more lively, more transparent, and richer, with dramatically more immediacy in the midrange so that Dylan’s voice is front and center and in the room with you
  • You would be hard pressed to find a copy that sounds this good and plays this quietly – we should know, this was one of the better copies from our most recent shootout
  • 5 stars: “With Bringing It All Back Home, he exploded the boundaries, producing an album of boundless imagination and skill. And it’s not just that he went electric, either, rocking hard on “Subterranean Homesick Blues,” “Maggie’s Farm,” and “Outlaw Blues”; it’s that he’s exploding with imagination throughout the record.”
  • For those of you who are fans of the pop, folk and jazz music of the mid-sixties, Bringing It All Back Home (along with Highway 61 Revisited from later the same year) has to be seen as a Must Own Album from 1965.

It’s tough to find copies of this album that give you all the tubey richness and warmth that this music needs to sound its best. Too many copies seem to be EQ’d to put the vocals way up front, an approach that renders Dylan’s voice hard and edgy. Copies like that sound impressive at first blush (“Wow, he’s really in the room!”) but become fatiguing in short order. When you get a copy like this one that’s smooth, relaxed and natural, the music sounds so good that you forget about the sound and just get lost in the music.

Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real Bob Dylan singing live in your listening room. The better copies have an uncanny way of doing just that.

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Thelonious Monk – It’s Monk’s Time

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  • An incredible 360 label pressing of It’s Monk’s Time, with Shootout Winning Triple Plus (A+++) sound or very close to it throughout
  • The piano is clear with a solid bottom end — we’re crazy for that sound, and Columbia knew exactly how to give it to us on these vintage pressings
  • 5 stars: “contains some of the best — if not arguably the best — studio sides that the pianist cut during his final years as a recording musician…”

There are three main elements that comprise the sound of a top quality It’s Monk’s Time: piano, sax and drums. You need all three to be balanced and correct. The mix is perfection on the best copies, with the piano, sax and drums clearly audible and in musically correct proportion to each other.

As we played the sides we noted how each of them fared.

  • PIANO. Clear, present and lively. Very high-rez.
  • SAX. Smooth, rich and tubey, with no RVG squawk to be found.
  • DRUMS (and BASS). Big drums in a big room. Listen to how solid that kick is. The standup bass is tight and note-like.

On the top copies, this is a truly superb sounding Thelonious Monk album. We can thank the brilliant Columbia engineers for their service to one of the authentic geniuses of jazz.

And if you own the Speakers Corner Heavy Vinyl reissue, please buy this copy and hear what you’ve been missing.

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Simon and Garfunkel – Sounds of Silence

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  • Boasting two excellent Double Plus (A++) or BETTER sides, this vintage 360 Stereo pressing was giving us the sound we were looking for on S&G’s sophomore release
  • Forget that critical listening stuff and just notice that these hot copies are simply more relaxed, musical and involving
  • Although the rock tracks come to life and really do sound good, the Tubey Magical folkie tracks are the real reason to play the album
  • “A work of finely expressed folk. It’s arguably the duo’s big breakout, a crossover success with some handsome hits.” — COS

The sound is big, open, rich and full, with the performers front and center. This 360 Stereo pressing also has the MIDRANGE MAGIC that’s no doubt missing from whatever 180g reissue has been made from the 50+ year old tapes. As good as that pressing may be, we guarantee that this one is dramatically more REAL SOUNDING. It gives you the sense that Simon and Garfunkel are right in the room with you. (more…)

Dave Brubeck – Time In

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  • Boasting superb Double Plus (A++) sound from first note to last, this early 360 Stereo pressing will be very hard to beat
  • Big, full and lively, with bottom end weight and plenty of space around all the members of Dave’s classic quartet, this pressing of Time In (the last of the albums recorded in Brubeck’s “Time” series) proves that the engineering skills of all concerned at Columbia in 1966 were as strong as ever
  • This copy allows you to hear the clean, clear, solid, lively, smear-free piano that makes Brubeck’s records from the era such a delight for the analog devotee
  • 4 stars: “Though it is seldom celebrated as such, this is one of Brubeck’s finest moments on Columbia.”

This vintage Columbia 360 stereo 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. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the audience at the live show, this is the record for you. It’s what Live Jazz Recordings are known for — this sound. (more…)

Miles Davis and Thelonious Monk – Miles & Monk at Newport

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More Thelonious Monk

  • This original 360 Stereo pressing boasts seriously good Double Plus (A++) live jazz sound from first note to last
  • Remarkably spacious and three-dimensional, as well as relaxed and full-bodied – this pressing was a big step up over most other copies we played
  • The energy and presence are wonderful – Monk’s piano has real weight and the brass sounds just right
  • “On the first side of the LP [are] are a series of high tempo performances of bebop tunes and other staples of the Davis live repertoire from 1958. On the second side [are] a few numbers by Thelonious Monk’s combo, from a 1963 Newport appearance [that] featured the idiosyncratic appearance by clarinetist Pee Wee Russell.”
  • “[The Miles Davis Sextet’s] rapid version of ‘Ah Leu Cha’ is thunderous and ‘Straight No Chaser’ swings like mad.”

Of special note on the Monk side is the excellent work of Frankie Dunlap on drums, and of course Charlie Rouse is always interesting. Add to those top players someone you wouldn’t normally associate with Monk — Pee Wee Russell on clarinet, here proving that he’s every bit the bop jazz musician that these other guys are.

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Bob Dylan – Blonde On Blonde on the ’70s Red Label

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More Vintage Columbia Pressings

  • These vintage Columbia Red Label pressings boast very good Hot Stamper sound on all FOUR sides – exceptionally quiet vinyl too
  • Dramatically richer, clearer, more transparent and with more vocal presence than the average copy
  • The right 360 Label pressings are going to win all the shootouts, but the best of the Red Label pressings can still beat the pants off anything pressed after 1972, which is probably when this copy was made
  • Includes tons of quintessential Dylan classics: “Rainy Day Women,” “I Want You,” “Just Like A Woman,” and more
  • 5 stars: “Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play… It’s the culmination of Dylan’s electric rock & roll period — he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again.”

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Thelonious Monk – Monk.

  • A wonderful early 360 Stereo pressing with seriously good Double Plus (A++) sound or BETTER first note to last
  • Columbia records produced by Teo Macero in the early ’60s have consistently open, natural sound – this one from 1964 is no exception
  • The piano has real weight, the bass definition is wonderful, Rouse’s sax is full-bodied, and the overall sound is Columbia to a “T”: warm, sweet, and rich
  • Problems in the vinyl are sometimes the nature of the beast with these early pressings – there simply is no way around them if the superior sound of vintage analog is important to you
  • “The Thelonious Monk Quartet of 1964 is well featured on this excellent set… Easily recommended to Monk fans, this set is just further proof that he never made an unworthy recording.”

We’re big Monk fans here at Better Records and we wish we could get more records like this up on the site. Unfortunately, clean, vintage pressings of Monk’s music have become increasingly difficult to find, and even when you can track them down, they rarely play as quietly as this one, and of course, this being a Hot Stamper, they rarely sound as good as this one. (more…)

Johnny Mathis – Up, Up And Away

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More Pop and Jazz Vocal Recordings

  • Up, Up And Away debuts on the site with stunning Nearly Triple Plus (A++ to A+++) grades throughout this original Columbia 360 Stereo pressing – just shy of our Shootout Winner
  • So hugely spacious and three-dimensional, yet with a tonally correct and natural sounding Johnny, this is the way to hear it
  • “Johnny Mathis’s return to the Columbia label purrs with the rich, romantic tones that suspend the very sensation of conscious listening … ‘Up, Up and Away’, ‘Misty Roses,’ and ‘I Won’t Cry Anymore’ are soothed and coated with Mathis’s seamless style – music running together like prefabricated daydreams padded with a feeling of luxury.” – Billboard Magazine
  • More Reviews and Commentaries for the Recordings of Frank Laico

Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real Johnny Mathis singing live in your listening room. The best copies have an uncanny way of doing just that.

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Dave Brubeck – Time Changes

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More Jazz Recordings Featuring the Piano

  • With a breathy sax, lively and present piano, and a smooth, full sounding orchestra on some of these tracks, this is just the right sound for this music
  • The wonderful sounding CBS 30th Street Studios in New York deliver another amazing Demo Disc for Dave Brubeck and his famous fellow jazzmen
  • Produced by the legendary Teo Macero, this is the fourth entry in Brubeck’s time signature series of classic jazz

Production and Engineering

Teo Macero was the producer, Fred Plaut the engineer for these sessions in Columbia’s glorious-sounding 30th Street Studio. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording.

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