Labels With Shortcomings – Classic Records – All

Beethoven – The Classic Pressing Can Have Very Good Sound

More of the music of Ludwig van Beethoven (1770-1827)

More Classical and Orchestral Recordings

Somehow we managed to have a Classic Records pressing on hand to play in our most recent shootout for the Beethoven Symphony No. 4.

We knew all the way back in 1997 that Classic had done a good job with the record – we recommended it as one of the best Classic Records pressings in our catalogs at the time — but we sure didn’t expect it to do as well as it did, earning 2 pluses on one side and close to that on the other.

Years ago we wrote:

Here is the kind of sound that Classic Records could not ignore, even though the original was only ever made available as part of RCA’s budget reissue series, Victrola.

Don’t let its budget status fool you — this pressing puts to shame most of what came out on the full price Living Stereo label. (And handily beats any Classic Records reissue ever made.)

The top and bottom are wrong to varying degrees on both sides of the Classic, as you can see from our notes, which read:

Side One:

  • big,
  • a little shiny up top
  • not as rich but weighty

Side Two:

  • leaned out up top
  • blurry down low

At least the midrange is more or less correct.

A potentially good Heavy Vinyl pressing, worth picking up if you can find one at a good price.

Note that it comes with different coupling works, as well as on both 180 amd 200 gram vinyl. This is the version with the Leonore Overture.

To sum up, these grades mean that the Classic will beat the lesser Victrola pressings, and be beaten by the better ones, for what that’s worth.

Side One

Symphony No. 4
I. Adagio, Allegro Vivace
II. Adagio
III. Menuetto: Allegro Vivace – Trio: Un Poco Meno Allegro

Side Two

Symphony No. 4 (cont.)
IV. Allegro Ma Non Troppo

Leonore Overture No. 3 In C Major, Op. 72

Further Reading

Below you will find our reviews of the more than 200 Heavy Vinyl pressings we’ve played over the years. Feel free to pick your poison.

And finally,

Even as recently as the early 2000s, we were still impressed with many of the better Heavy Vinyl pressings. If we’d never made the progress we’ve worked so hard to make over the course of the last twenty or more years, perhaps we would find more merit in the Heavy Vinyl reissues so many audiophiles seem impressed by.

We’ll never know of course; that’s a bell that can be unrung. We did the work, we can’t undo it, and the system that resulted from it is merciless in revealing the truth — that these newer pressings are second-rate at best and much more often than not third-rate and even worse.

Some audiophile records have such bad sound, I felt motivated to create a special list for them. Others are just BS. I’m sure you know the type.

Setting higher standards — no, being able to set higher standards — in our minds is a clear mark of progress. Judging by the hundreds of letters we’ve received, especially the ones comparing our records to their Heavy Vinyl and Half-Speed mastered counterparts, we know that our customers see things the same way.

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Stills / Manassas – A Classic Records Disaster

More of the Music of Stephen Stills

Reviews and Commentaries for the Music of Stephen Stills

The Classic pressing was a disaster. Can you imagine adding the kind of grungy, gritty sound that Bernie’s mastering chain is known for (around these parts, anyway) to a recording with those problems already? It was a match made in hell.

Back in the day when I was selling lots of Classic Heavy Vinyl, this was one of the titles I refused to have anything to do with. This and Stephen Stills’ first album — both were personal favorites of mine and both were awful on remastered Heavy Vinyl.

Is it the worst version of the album ever made? Hard to imagine it would have much competition.

Lots of rave reviews for the two of them in the audiophile press at the time though. I guess nothing ever really changes, does it? Played a Sundazed record lately? Well, there you go. How are these people impressed with such bad sound?

Of course I know exactly how it is possible to be impressed by bad sound. I spent my first twenty years in audio being clueless. Why should I expect the audiophile of today to have figured things out in less time than it took me?

I was a clueless audiophile record dealer (but I repeat myself) in the 90s, and I have the catalogs to prove it.

Falling Short

As a general rule, Manassas, like most Heavy Vinyl pressings, will fall short in some or all of the following areas when played head to head against the vintage pressings we offer:

My question to the Vinyl True Believers of the world is this: Why own a turntable if you’re going to play records like these?

I have boxes of CDs with more musically involving sound and I don’t even bother to play those. Why would I take the time to throw on some 180 gram record that sounds worse than a good CD?

If you are stuck in a Heavy Vinyl rut, we can help you get out of it. We did precisely that for these folks, and we can do it for you.

The best way out of that predicament is to hear how mediocre these modern records sound compared to the vintage Hot Stampers we offer.

Once you hear the difference, your days of buying newly remastered releases will — we hope — be over.

Even if our pricey curated pressings are too expensive, you can avail yourself of the methods we describe to find killer records on your own.

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Led Zeppelin – Physical Graffiti on Classic Records

More of the Music of Led Zeppelin

Reviews and Commentaries for the Music of Led Zeppelin

Sonic Grade: D

An Audiophile Hall of Shame pressing and another Classic Records Rock LP badly mastered for the benefit of audiophiles looking for easy answers and quick fixes.

Tonally correct, which is one thing you can’t say for most of the Zeps in this series, that’s for sure. Those of you with crappy domestic copies, crappy imported reissues and crappy CDs, which make up the bulk of offerings available for this recording, probably do not know what you’re missing.

What’s Lost

What is lost in these newly remastered recordings? Lots of things, but the most obvious and bothersome is TRANSPARENCY.

Modern records are just so damn opaque. We can’t stand that sound. It drives us crazy. Important musical information — the kind we hear on even second-rate regular pressings — is simply nowhere to be found. That audiophiles as a group — including those that pass themselves off as champions of analog in the audio press — do not notice these failings does not speak well for either their equipment or their critical listening skills.

It is our contention that almost no one alive today is capable of making records that sound as good as the vintage ones we sell.

Once you hear a Hot Stamper pressing, those 180 gram records you own may never sound right to you again. They sure don’t sound right to us, but we are in the enviable position of being able to play the best properly-cleaned older pressings (reissues included) side by side with the newer ones.

This allows the faults of the current reissues to become much more recognizable, to the point of actually being quite obvious. When you can hear the different pressings that way, head to head, there really is no comparison.

Helpful Test Records

The links below will take y0u to other records that are good for testing some of the qualities that the Classic Records pressing lacks. The Classic will fall short in some or all of the following areas when played head to head against the vintage pressings we offer:

A Lost Cause

The wonderful vintage discs we offer will surely shame any Heavy Vinyl pressings you own, as practically no Heavy Vinyl pressing has ever sounded especially transparent or spacious to us when played against the best Golden Age recordings, whether pressed back in the day or twenty years later.

This is precisely the reason we stopped carrying Modern LP Pressings in 2011 – they just can’t compete with good vintage vinyl, assuming that the vinyl in question has been properly mastered, pressed and cleaned.

This is of course something we would never assume — we clean the records and play them and that’s how we find out whether they are any good or not. There is no other way to do it — for any record from any era — despite what you may read elsewhere.

Further Reading

Tchaikovsky – Classic Records and the TAS List

More of the music of Peter Ilyich Tchaikovsky (1840-1893)

Reviews and Commentaries for the 1812 Overture

This is a classic case of Live and Learn.

We used to like the Classic Records pressing of LSC 2241 a lot more than we do now. Our system was noticeably darker and apparently far less revealing when we last auditioned the Classic back in the 90s, and those two qualities did most of the heavy lifting needed to disguise its shortcomings. We mistakenly noted:

HP put the Shaded Dog pressing (the only way it comes; there is no RCA reissue to my knowledge) on his TAS List of Super Discs, and with good reason: it’s wonderful!

The rest of our commentary still holds up though:

But for some reason he also put the Classic Records Heavy Vinyl reissue on the list, and that record’s not even passable, let alone wonderful. It’s far too lean and modern sounding, and no original Living Stereo record would ever sound that way, thank goodness. 

If they did few audiophiles would still be paying the top dollar collector prices that the Shaded Dog commands to this day.

Updated Thoughts on the Classic Records Heavy Vinyl Reissue

The Classic on Heavy Vinyl (LSC 2241) is lean and modern sounding. No early Living Stereo pressing sounds like it in our experience, and we can only thank goodness for that. If originals and early reissues did sound more like the Classic pressings, my guess is that few would collect them and practically no one would put much sonic stock in them.

Apparently most audiophiles (including audiophile record reviewers) have never heard a classical recording of the quality of a good original pressing (or good ’60s or ’70s reissue). If they had Classic Records would have gone out of business immediately after producing their first three Living Stereo titles, all of which were dreadful and recognized and identified as such by us way back in 1994.

Here are some Hot Stamper pressings of TAS List titles that actually have audiophile sound quality, guaranteed. And if for some reason you disagree with us about how good they sound, we will be happy to give you your money back.

Here are some others that we do not think qualify as Super Discs.

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The Who – Our Old Review of the Classic Records Pressing

More of the Music of The Who

Reviews and Commentaries for Who’s Next

Below you will find our review from 2005. After doing our next shootout for Who’s Next in 2007, and replaying the Classic afterwards, we changed our minds about Classic’s version of the album.

Apparently, a surprising amount of audio progress was made from 2005 to 2007, reflected in this review as well as dozens of others.

Looking back, 2007 seems to have been a Milestone Year  for us here at Better Records, although we certainly did not know it at the time.

Later that same year, we swore off Heavy Vinyl (prompted by the less-than-enchanting sound of the Rhino pressing of Blue) and committed ourselves to doing record shootouts of vintage pressings full time. To accomplish this we eventually ended up doubling the staff. (Cleaning and playing every record you see on our site turned out to very time consuming. No one man band can begin to fathom the complex and random nature of the vinyl LP, which explains why the audiophile reviewers of the world are right about as often as the proverbially stopped clock.)

Much of the review you see below indicates we had a much more limited understanding of Who’s Next than we do now, but we obviously have no problem admitting to it, a subject we discuss in some detail here.

Live and Learn is our motto, and progress in audio is a feature, not a bug, of record collecting at the most advanced levels. (“Advanced” is a code word for having no interest in any remastered pressing marketed to the audiophile community. There is nothing advanced about these deceptively-packaged mediocrities if you have the stereo to reveal their shortcomings. After spending forty plus years in audio (1975-2023, we do. )

Sonic Grade: B-

At one time we did not recommend this record, but now we do!

Without going into the sordid details, let’s just say this record sounds pretty good.

The acoustic guitars are especially sweet and silky for a modern reissue. The sound is better than most of the pressings of Who’s Next I’ve ever played.

Clearly this is is one of the better Classic Records rock records.

(It’s the only Who record they’ve done that we carried. The others are awful.) 

The Best Bass Ever!

In our Hot Stamper commentary for Who’s Next we noted this about the sound of the Classic pressing:

It’s actually shockingly good, better than it has any right to be coming from Classic Records. The bass is PHENOMENAL; no British Track pressing had the bass punch and note-like clarity of the Classic. It shows you the kind of bass you had no idea could possibly be on the tape. It reminds me a bit of the Classic pressing of the first Zep album: in the case of the Zep, it has dynamics that simply are not to be found anywhere else. The Classic Who LP has that kind of bass — it can’t be found elsewhere so don’t bother looking. (Don’t get me wrong; we’ll keep looking, but after thirty plus years of Track Who LPs, we kinda know when we’re beaten.)

Hot Stampers Ain’t Cheap

We’ve found Hot Stampers of Who’s Next in the past, and they are still the ultimate versions. This goes without saying.

But Hot Stamper copies are not particularly quiet, and they are never cheap, which is in marked contrast to Classic Records’ heavy vinyl pressings, which are fairly quiet and also fairly cheap. Some of you may think $30 is a lot of money for a record, but we do not. It’s a fair price.

When you buy Crosby Stills and Nash’s first album or Tapestry or Bridge Over Troubled Water on Classic for $30, you are getting your money’s worth.

Don’t Kid Yourself

But don’t kid yourself. You are not getting anything remotely close to the best pressing available, because the best pressings are hard to find. We do find them, and we do charge a lot of money for them, because they sound absolutely AMAZING in a direct head to head comparison to the Classic version and anything else you may have heard.

A Benchmark

We recommend you use the Classic version as a benchmark. When you find something that beats it, you have yourself a very good record. Until then, you still have a good, quiet record to enjoy. You win either way.

Further Reading

Graham Nash – Remixed and Ruined on Classic Records

More of the Music of Graham Nash

Reviews and Commentaries for Songs for Beginners

Sonic Grade: D

I’ve listened to Nash’s first solo outing countless times over the last thirty years, even more than Crosby, Stills and Nash’s first album. As I was listening to the Classic pressing, I recall thinking “Wow, I don’t remember that sound being there; this version is so much better I can hear things I never heard before!”

Well, owners of this album (all five of you) will certainly hear things you never heard before, because some of the tracks on this album have been remixed and some of the instruments re-recorded. How about them apples.

Both the snare and the kick drum on some songs are clearly too “modern” sounding for anything recorded in 1971. For Pete’s sake, they’d be right at home on Nevermind.

Sometimes the vocal tracks are different—probably alternate takes I would think, as Graham obviously can’t sing like he did thirty years ago to even attempt a re-recording.

As you can imagine, remastering a well-known title and creating a new sound for it is a huge bête noire for us here at Better Records. This Classic Records release is like nails on a blackboard to me now.

No doubt the idea was Graham’s but it was a very bad one indeed. (If you can get hold of the original unadulterated CD, I highly recommend it. The sound is excellent.)

Our old commentary from the early-2000s, the pre-shootout era

I haven’t played this record in a long time — years in fact. During that time there have been dramatic improvements in my analog playback. I’m guessing that if I played this Classic Record now I would hear what I hear on almost all of them — less midrange magic than the best originals, some boost on the top, and maybe a bit too much bottom, and a slightly dry bottom at that.

Those of you with really magical originals are encouraged to hang onto them and pass on this Classic. As those do not grow on trees, if you want a good pressing of this album, the Classic may be just the ticket. If you find a hot original, you will have a benchmark against which to judge it.

One Helluva Well-Recorded Album

Most of the credit must go to the team of recording engineers, led here by the esteemed Bill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best. Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better than this.

Others (Sleep Song, Wounded Bird) are quiet and intimate. Their subtlely is highlighted by the big productions surrounding them. This is that rare album in which every aspect of the production, from the arrangements to the final mix, serves to bring out the best qualities in the songs, regardless of scale.

The recording is of course superb throughout, in the best tradition of Crosby Stills and Nash’s classic early albums: transparent, smooth and sweet vocals, with loads of midrange magic ; deep punchy bass; lovely extension on the top to capture the shimmer of the cymbals and harmonic trails of the acoustic guitars; with the whole balanced superbly by one of our all-time heroes, Glyn Johns.

The Real Songs for Beginners on Vintage Vinyl Checks Off Three Big Boxes for Us

It’s a Must Own record.

It’s a Rock and Pop Masterpiece.

And it’s a Personal Favorite of mine.

The blog you are on now as well as our website are both devoted to very special records such as these.

In my opinion, this is also a record that should be more popular with audiophiles. If you have not heard this classic, check it out. It is the very definition of the kind of Big Production Rock I have been listening to since I first fell in love with it back in the Seventies. That was about fifty years ago and I still play the album regularly for enjoyment. I have never tired of the music in all that time and I don’t think I ever will.

I’m sure you have plenty of records you feel the same way about in your collection. This is one of mine.

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Ella Fitzgerald / Clap Hands, Here Comes Charlie – Classic Records Reviewed

Hot Stamper Pressings of Ella Fitzgerald’s Albums Available Now

Reviews and Commentaries for Clap Hands, Here Comes Charlie

Sonic Grade: F

There is no reissue, and there will never be a reissue, that will sound as good as a good vintage pressing of Clap Hands.

The Classic Heavy Vinyl Reissue is a disgrace. I would rather play the CD.

(20 years ago, when I still had a CD player in my system, the CD was one of my favorites for testing, along with Blue and dozens of other well-recorded vocal albums.) 

Long time customers know that I have been raving about this album from way back in 1990 or so – ever since I first heard it in fact. I consider it the finest female vocal album in the history of the world. I could go on for pages about this music. Suffice to say this is a record that belongs in every human being’s record collection.

Just not the Classic Records pressing of it.

Is it the worst version of the album ever made?

That’s hard to say. But it is the worst sounding version of the album we’ve ever played, and that should be good enough for any audiophile contemplating spending money on this kind of trash. Our advice: don’t do it.

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Iberia on Classic Records – What, Specifically, Are Its Shortcomings?

The Music of Claude Debussy Available Now

Album Reviews of the music of Claude Debussy

An Audiophile Hall of Shame pressing and another Classic Records LP debunked.

The Classic of LSC 2222 is all but unlistenable on a highly resolving, properly setup hi-fi system.

The opacity, transient smear and loss of harmonic information and ambience found on Classic’s pressing was enough to drive us right up a wall. Who can sit through a record that sounds like that?

The Classic reissue has plenty of deep bass, but the overall sound is shrill and hard and altogether unpleasant. The better bass comes at a steep price.

Way back in 1994, long before we had anything like the system we do now, we were finding fault with the “Classic Records Sound” and said as much in our catalogs. (Sometimes. Sometimes we were as wrong as wrong can be.)

With each passing year — 29 and counting — we like that sound less.  The Classic may be on Harry’s TAS list — sad but true — but that certainly has no bearing on the fact that it’s not a very good record.

For a better sounding recording of Iberia, click here.

Here Are More Titles that Are Good for Judging These Recording Qualities

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Sibelius / Violin Concerto on Classic Records Heavy Vinyl

Hot Stamper Pressings Featuring the Violin

Superb Recordings with Jascha Heifetz Performing

Sonic Grade: F

An Audiophile Hall of Shame pressing and another Classic Records Classical LP badly mastered to the detriment of those lured by the promise of easy answers and quick fixes.

Classic remastered this title in the ’90s — of course they did, it’s clearly one of the better Heifetz recordings.

As expected, their version was awful, as bad as LSC 1903, 1992, 2129 and others too numerous to list.  

It’s both aggressive and lacking in texture at the same time, the worst of both worlds.

Bernie’s cutting system is what I would call Low Resolution — the harmonics and subtleties of the sound simply disappear.

The world is full of them.

In these four words we can describe the sound of the average Classic Records pressing. If you have the Classic, do your own shootout. We guarantee any of our Hot Stamper pressings will murder theirs.

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Beethoven / Violin Concerto – Classic Records Reviewed

Hot Stamper Pressings Featuring the Violin

Reviews and Commentaries for Recordings Featuring Jascha Heifetz

An Audiophile Hall of Shame pressing and another Classic Records Classical LP we found seriously lacking in some of the most important qualities we listen for on the classical and orchestral recordings we audition.

The Classic pressing of this album does not present the listener with the sound of a real, wood instrument, bowed by horsehair, in a physical space.

It is an airless fraud, a cheap fake reproduction that’s incapable of fooling anyone currently in possession of two good ears, a properly set up hi-fi system and a decent collection of Golden Age violin concerto recordings.

The fact that a great many writers identifying themselves as audiophiles embraced Classic’s mediocre-at-best reissues tells me that they were lacking some or all of the above.

Bernie Grundman’s low-rez, crude, smeary cutting system did this wonderful 1956 Living Stereo recording no favors. Other records we’ve played and found to have similar problems are linked below.

Notes from a Recent Hot Stamper Pressing (more…)