Record Labels with Shortcomings

Remastered, But Why on Earth Would They Bother?

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Supersax Plays Bird is awful music with awful sound.

In 1980 this record single-handedly convinced me that MoFi would lower themselves to remastering records that have little in the way of actual musical value.

UPDATE 2022

I just looked up the mastering engineer credited with cutting the original pressings in 1973, Wally Traugott. Now what are the chances that Stan Ricker cut this record better than Wally Traugott? One in a million? That would be my guess.

Which simply means that the right domestic pressing on Capitol might just be a good sounding record.

But why should anyone care? The music is hopeless.

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This Tsar Saltan Is Diffuse, Washed Out, Veiled, and Vague

Hot Stamper Pressings of the Music of Rimsky-Korsakov Available Now

Sonic Grade: C (at most)

Year ago we cracked open the Speakers Corner pressing of The Tale of Tsar Saltan in order to see how it would fare in a head to head comparison with a pair of wonderful sounding Londons we were in the process of shooting out at the time. Here are the differences we heard.

The soundstage, rarely much of a concern to us at here at Better Records but nevertheless instructive in this case, shrinks roughly 25% with the new pressing. Depth and ambience are reduced by about the same amount.

But what really bothered me was this:

The sound was just so vague.

There was a cloud of musical instruments, some here, some there, but they were very hard to SEE. On the Londons we played they were clear. You could point to each and every one. On this pressing that kind of pinpoint imaging was simply nowhere to be found. (Here are some other records that are good for testing vague imaging.)

Case in point: the snare drum, which on this recording is located toward the back of the stage, roughly halfway between dead center and the far left of the hall. As soon as I heard it on the reissue I recognized how blurry and smeary it was relative to the clarity and immediacy it had on the earlier London pressings we’d played. I’m not sure how else to describe it — diffuse, washed out, veiled — just vague.

(Here are some other records that are good for testing the sound of the snare drum.)

This particular Heavy Vinyl reissue is more or less tonally correct, which is not something you can say about many reissues these days. In that respect it’s tolerable and even enjoyable. I guess for thirty bucks it’s not a bad deal.

But… when I hear this kind of sound only one word comes to mind, a terrible word, a word that makes us recoil in shock and horror. That word is DUB. This reissue is made from copy tapes, not masters.

Copies in analog or copies in digital, who is to say, but it sure ain’t the master tape we’re hearing, of that we can be fairly certain. How else to explain such mediocre sound?

Yes, the cutting systems being used nowadays to master these vintage recordings aren’t very good; that seems safe to say.

Are the tapes too old and worn?

Is the vinyl of today simply not capable of storing the kind of magical sound we find so often in pressings from the 50s, 60s and 70s?

Could the real master tape not be found, and a safety copy used to master the album instead?

To all these questions and more we have but one answer: we don’t know.

We know we don’t like the sound of very many of these modern reissues and I guess that’s probably all that we need to know about them. If someone ever figures out how to make a good sounding modern reissue, we’ll ask them how they did it. Until then it seems the question is moot. (Someone did, which proves it can be done!)

Back in 2011 we stopped carrying Heavy Vinyl and most other audiophile LPs of all kinds. (These we like.)

So many of them don’t even sound this good, and this kind of sound bores us to tears.

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Remain In Light on Ridiculously Bad Sounding Rhino Vinyl

Hot Stamper Pressings of the Music of Talking Heads Available Now

UPDATE 2026

We reviewed this awful pressing shortly after its release in 2006. More proof, as if more were needed, that Heavy Vinyl collectors have lost their minds.

A more accurate formulation might be that such collectors can’t tell a good record from a bad one. If they could, the number owning this pressing would be a fraction of that seen below, as would the number who want it. Let’s take a deeper dive into the actual evidence for its desirability:

More than 10,000 Discogs members have this album, almost two thousand would like to own it, and the consensus is that it is an outstanding reissue, having earned a grade of 4.66 out of 5 from 735 members. (Don’t worry, I won’t show you what they had to say about it, but you are welcome to go to Discogs and read it yourself.)

With an average price of 25 bucks, what is keeping those 1948 potential buyers from pulling the trigger? Seems affordable to me. Inflation has gone up 62+% since 2006, making the album cheaper now than if you had bought it when it came out.

Our 2006 Review

The Rhino Heavy Vinyl reissue of this album was deemed dead on arrival the minute it hit my turntable.

No top, way too much bottom, dramatically less ambience than the average copy — this one is a disaster on every level.

Rhino Records has really made a mockery of the analog medium. Rhino touts their releases as being pressed on “180 gram High Performance Vinyl.” However, if they are using performance to refer to sound quality, we have found the performance of their vinyl to be quite low, lower than the average copy one might stumble upon in the used record bins. 

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Heart Like A Wheel – Cisco Heavy Vinyl Reviewed

More of the Music of Linda Ronstadt

UPDATE 2026

This review was written in 2006. These days I doubt very much that I would consider this record a service to the audiophile community, as I mistakenly wrote at the time. Many of the records that sounded good to me back in the day don’t sound so good to me anymore.

Like most Heavy Vinyl, it is at best a stopgap.

Sonic Grade: C

This pressing beats the average Capitol LP in some ways, which is typically an aggressive, grainy piece of crap.

Take my word for it: I easily have 30-40 copies of this album, and I can tell you from years of experience that it is extremely difficult to find good sounding pressings of this music.

Cisco has done a service to the audiophile community by producing a very enjoyable LP of this, Linda’s masterpiece. It’s music that belongs in your collection. (If you have the bread, check out our Hot Stamper copies, guaranteed to kill any modern pressing — including this one — or your money back.) 

Cisco’s version is completely free from compression of any kind, and sometimes that works in favor of the overall sound and sometimes it doesn’t. I may have additional commentary discussing these issues down the road, but for now let’s just say you will have a hard time finding a better copy of Heart Like A Wheel on vinyl.

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Carmina Burana on Telarc – A Very Old Review

Hot Stamper Pressings of Orchestral Spectaculars Available Now

This IMMACULATE Telarc Double LP with Virtually No Sign Of Play is one of the greatest audiophile records of all time and Telarc’s greatest recording! No recording gets more realism with this work … depth, dynamics, colors & performance!

Why don’t more of their recordings sound like this? Telarc is not a label I would normally associate with good sound but you have to give them credit here: they knocked this one out the park. They have made good records in the past — this one is proof enough, and some of the Fennel titles are quite good — but most of their catalog leaves much to be desired and is hard to recommend. (more…)

Do Pressings Remastered at 45 RPM Have Better Sound?

More Reviews and Commentaries for 45 RPM Pressings

No doubt some do, but based on our admittedly limited experience, we rather doubt any of the titles shown here, or from this series, are likely to be very good sounding.

I was going to write about the awful Holst The Planets with Previn from this series that I had played a few years back, but never got around to it.

Lots of punchy, powerful and deep bass — yes, 45 RPM mastering is known for that — but the dry, overly clean, clear, modern sound and the screechy strings made me take it off the turntable halfway through the first side. (We write more about EMI and Angel pressings here.)

If you want a good sounding pressing of The Planets, our favorite by far is Previn’s reading on EMI from 1974.

As usual, our advice is to accept no substitutes. There are a lot of bad sounding, poorly performed Planets out there.

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Pet Sounds on DCC Is Yet Another Mediocre Remaster

Hot Stamper Pressings of the Music of The Beach Boys Available Now

Sonic Grade: C-

The no-longer-surprising thing about our Hot Stamper pressings of Pet Sounds is how completely they trounce the DCC LP. Folks, it’s really no contest. Yes, the DCC is tonally balanced and can sound decent enough, but it can’t compete with the best “mystery” pressings [1] that we sell.

It’s missing too much of the presence, intimacy, immediacy and transparency that we’ve discovered on the better Capitol pressings.

As is the case with practically every record pressed on Heavy Vinyl over the last twenty years, there is a suffocating loss of ambience throughout, a pronounced sterility to the sound.

Modern remastered records just do not BREATHE like the real thing.

Good EQ or Bad EQ, they all suffer to one degree or another from a bad case of audio enervation. Where is the life of the music?

You can turn up the volume on these remastered LPs all you want; they simply refuse to come to life.

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Letter of the Week – “After a quick listen through them it was immediately obvious that they were dead…”

More Letters from Customers about Heavy Vinyl

“…and they’ve been sitting in their heavy vinyl glory on my shelf for most of the past year unplayed.”

One of our good customers asked us for our take on a Heavy Vinyl remastering label recently:

Also curious your thoughts on these guys: Music Matters

I replied:

Every label with a checkered history gets put into our Record Labels with Shortcomings Section (scroll down to the bottom to see the list), and in there toward the bottom you will find the two awful Music Matters records we have reviewed to date.

Really bad. And the guy that let me borrow them said that of all the heavy vinyl he owned by these idiots, he thought these were two of the best!

Until these records sound wrong to you in the ways I describe, you have work to do on the stereo. The better your stereo gets, the more wrong these records should sound.

They sound very wrong to me, and no mastering engineer in the history of the world made records that sound the way these do until sometime in the 90s when some audiophile labels started producing this crap.

That should tell you something.

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I Owe a Debt of Gratitude to Mobile Fidelity

Hot Stamper Pressings of the Music of Supertramp Available Now

For me, Crime of the Century worked like a gateway drug to get me addicted to the amazing soundscapes found on so many 70s Prog Rock and Art Rock recordings, although I didn’t know what the term Art Rock meant or whether it even existed yet.

I just knew I loved Supertramp’s music. Both Crime and Crisis? What Crisis? were in heavy rotation in the cheap apartment I rented three blocks from the beach in San Diego where I was living in the mid-70s.

(It shared no common walls with any other units, which was an absolute necessity for someone who liked to play his music good and loud and often late into the evening. The police came knocking on my door once at two in the morning after I got a bit too carried away with the “running around the airport” song on Dark Side of the Moon. Apparently the next door neighbors were not enjoying it as much as I was.)

MoFi Rocks

The first Supertramp album I bought on audiophile vinyl would have had to have been Crime of the Century released by Mobile Fidelity in 1978.

It was that label’s first rock release and it showed me the kind of Big Rock Sound I didn’t think was possible for two speakers to produce no matter how big they were, and mine were very big indeed.

In my mind it sounded to me like live music at a concert. I had simply never heard sound like that in my livingroom.

Partly that was because a few years earlier I had upgraded to some very big speakers and some awesomely expensive tube gear in 1976.

When I threw that super Hi-Fi Audiophile pressing on the turntable and turned the volume up good and loud, I thought there could be no question that finally, after all these years and after so many different stereo systems, I had reached the pinnacle of home audio. How could the sound possibly get any better? (Of course, although I didn’t know it at the time, I would devote the next 40-plus years to exploring that question.)

By 1978, Crisis? What Crisis and Even in the Quietest Moments had already come out, and though you couldn’t buy either of those albums on a super-duper disc from Mofi, there was a Half-Speed of Crisis which, I have to admit, sounded great to me at the time and well after it should have. (I don’t know what I thought of the Sweet Thunder pressing of EITQM, but I know what I think now: it sucks.)

I became an even bigger fan of Crisis than I had been of COTC, if you can believe such a thing. (None of my friends could.)

Since Crime… is one of those albums that I still listen to regularly, I can say with confidence that it is the better album by a small margin, and one that would come with me to my desert island even if I were limited to as few as ten titles — that’s how good it is.

And I owe a debt of gratitude to a label that comes in for a lot of criticism on this blog, the one that took Supertramp’s best album and made it a Demo Disc the likes of which I had never heard before, Mobile Fidelity.

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Cat Stevens on 2 Heavy Vinyl 45 RPM Discs, Part 1 – Is This the Truest Tillerman of Them All?

Hot Stamper Pressings of the Music of Cat Stevens Available Now

About ten years ago we auditioned and reviewed the 2011 edition of Tea for the Tillerman pressed by Analogue Productions, the one that came on a single Heavy Vinyl 33 RPM LP.

I wrote a very long commentary about the sound of that record, taking it to task for its manifold shortcomings, at the end of which I came to the conclusion that the proper sonic grade for such a record is F as in Fail. My exhaustive review asked the not-very-subtle question, this is your idea of analog?

Our intro gave this short overview:

Yes, we know, the folks over at Acoustic Sounds, in consultation with the late George Marino at Sterling Sound, supposedly with the real master tape in hand, and supposedly with access to the best mastering equipment money can buy, labored mightily, doing their level best to master and press the Definitive Audiophile Tea for the Tillerman of All Time.

It just didn’t come out very well, no matter what anybody tells you.

Recently I was able to borrow a copy of the new 45 cutting from a customer who had rather liked it. I would never have shelled out my own money to hear a record put out on the Analogue Productions label, a label that has an unmitigated string of failures to its name. But for free? Count me in!

The offer of the new 45 could not have been more fortuitous. I had just spent a number of weeks playing a White Hot Stamper Pink Label original UK pressing in an attempt to get our new Playback Studio sounding right.

We had a lot of problems. We needed to work on electrical issues. We needed to work on our room treatments. We needed to work on speaker placement.

We initially thought the room was doing everything right, because our Go To setup disc, Bob and Ray, sounded super spacious and clear, bigger and more lively than we’d ever heard it. That’s what a 12 foot high ceiling can do for a large group of musicians playing live in a huge studio, in 1959, on an All Tube Chain Living Stereo recording. The sound just soared.

But Cat Stevens wasn’t sounding right, and if Cat Stevens isn’t sounding right, we knew we had a Very Big Problem. Some stereos play some kinds of records well and others not so well. Our stereo has to play every kind of record well because we sell every kind of record there is. You name the kind of music, we probably sell it. And if we offer it for sale, we had to have played it and liked the sound, because no record makes it to our site without being auditioned and found to have excellent sound.

But I Might Die Tonight

The one song we played over and over again, easily a hundred times or more, was But I Might Die Tonight, the leadoff track for side two. It’s short, less than two minutes long, but a lot happens in those two minutes. More importantly, getting everything that happens in those two minutes to sound not just right, but as good as you have ever heard it, turned out to be a tall order indeed.

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