What’s interesting about the Cypress LPs is that they come two very different ways. Most of them are ridiculously thin, bright, grainy and digital sounding. This explains why some audiophiles in the past have preferred the Canadian pressings: they are smoother and fuller.
However, compared to the good stamper domestic versions they are dull and lifeless.
The Classic 180 gram reissue that came out a number of years ago was somewhere in between the good stamper originals and the bad stamper originals. The better sounding Cypress pressings absolutely MURDER it.
As far as the new Cisco 45 RPM pressings are concerned, we’ve never bothered to crack one open and play it. It’s been quite a while since Bernie cut any record that we thought sounded good, and some of his recent work has been unbelievably bad (the Doors box comes readily to mind), so we’ve never felt motivated enough to make the effort.
He cut many versions of this record as you probably know, some of which have turned out to be Hot Stampers, but that was a long time ago.
Does the Audio World really need another Heavy Vinyl Debunking entry from us? If Heavy Vinyl pressings are giving you the sound you want, you sure don’t need to be on our site. Those sacred cows get slaughtered pretty regularly around here.(more…)
Ridiculously bright and harsh, nothing like the good pressings we sell (German don’t you know).
We are proud to say this was one of the Classic Zep releases that we never carried on the site (along with II and Houses, both of which stink).
You will find very few critics of the Classic Zep LPs outside of those who write for this very website, and even we used to recommend three of the Zep titles on Classic: Led Zeppelin I, IV and Presence.
Wrong on all counts.
Since then we’ve made it a point to create debunking commentaries for some of the Classic Zeps, a public service of Better Records. We don’t actually like any of them now, although the first album is by far the best of the bunch.
This is a very nice looking original Track Black Label British Import LP. As anyone who knows the Who’s back catalog can attest, most of these songs were poorly recorded. Like all compilations, the sound here varies from track to track. Side two definitely has the better sound.
We guarantee that this pressing sounds better than the Classic reissue, which was so bad we never carried it.
Bucket “t” I’m a Boy Pictures of Lily Doctor! Doctor! I Can See for Miles Substitute Happy Jack The Last Time In the City Call Me Lightning Mary Anne with the Shaky Hand Dogs
The Classic 200 Gram Pressing — Dead as a Doornail
It wasn’t that long ago that I thought the Classic 200 gram pressing was the king on this title. In late 2006 I wrote: “You can hear how much cleaner and more correct the mastering is right away…” Folks, I must have been out of my mind.
I wasn’t out of my mind. I just hadn’t gotten my system to the place where it needed to be to allow the better original pressings to sound their best.(more…)
Some reviewers loved it, we of course hated it, so what else is new? If you think this record sounds good, one thing is certain: you don’t own many — or any — good sounding Neil Young records.
The average Neil Young record, like the average record by anyone else you care to name, is nothing special. Why should it be? But that certainly doesn’t excuse Classic Records’ release of this dead-as-a-doornail hack job.
The sound of the Classic vinyl barely passes the laugh test. What does it tell you when Neil Young’s CDs (Harvest in particular) sound better than this record in every way?(more…)
This commentary was posted in 2007 and amended later with the statement that we would no longer be ordering new heavy vinyl titles starting in 2010. By 2011 we had eliminated them completely from our site. If you bought any Heavy Vinyl pressing from us, ever, now is the time to get rid of it and hear what a Hot Stamper can do for your musical enjoyment.
Three of the Top Five sellers this week (8/22/07) at Acoustic Sounds are records we found hard to like: Aja, Aqualung and Blue. Can you really defend the expense and hassle of analog LP playback with records that sound as mediocre as this Rhino pressing of Blue?
Why own a turntable if you’re going to play records like these? I have boxes of CDs that sound more musically involving 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?(more…)
With Doug Sax mastering from the real tape, you get a Rock Solid Bottom End like you will not believe. Talk about punchy, well-defined and deep, man, this record has BASS that you sure don’t hear too often on rock records.
And it’s not just bass that separates the Men from the Boys, or the Real Thing from the Classic Reissue for that matter. It’s WEIGHT, fullness, the part of the frequency range from the lower midrange to the upper bass, that area that spans roughly 150 to 600 cycles. It’s what makes Daltry’s voice sound full and rich, not thin and modern. It’s what makes the drums solid and fat the way Johns intended. The good copies of Who’s Next and Quadrophenia have plenty of muscle in this area, and so do the imports we played.
But not the Classic. Oh no, so much of what gives Who By Numbers its Classic Rock sound has been equalized right out of the Heavy Vinyl reissue by Chris Bellman at BG’s mastering house. Some have said the originals are warmer but not as detailed. I would have to agree, but that misses the point entirely: take out the warmth — the fullness that makes the original pressings sound so right — and you of course hear more detail, as the detail region is no longer masked by all the stuff going on below it. Want to hear detail? Disconnect your woofers — you’ll hear plenty of detail all right!(more…)
One of our good customers had this to say about some Hot Stampers he purchased recently:
Just listened to the Very Hot Stamper of “Who’s Next” and thought I’d drop a little note: Holy F&*K that was POWERFUL!!! No record I own ever did that And I’m talking bone-rattling, earth-shaking, sock-you-in-the-gut POWERFUL. I’ve always known that The Who were one of the most intense bands in the history of rock n’ roll. Hell, everybody knows that and it’s part of the reason we love ’em so much. But with this record, I experienced the sheer physical force of their music like I NEVER have before. I couldn’t believe I heard bass notes hang in the air and resonate for long stretches. Bass notes never just hang like that! No record I own ever did that. But this particular slab of vinyl offered more than just low-end power. Its grooves exploded with such energy, dynamics, and pure EXCITEMENT that I was honestly concerned my cartridge was going to jump off the record and say “Sorry, this is just too much.” Remarkably, it held up for the whole wild ride.
Anyhow, after that shockingly great experience, I (reluctantly) spun the Classic version of this album for comparison purposes. You’re right, there’s no going back. The difference is almost comical. On the track “Going Mobile”, while it certainly has well-defined bass and great detail, it sounded like a different take – a much worse take. The conviction in Townshend’s singing and guitar playing had been sucked out, as if he was bored of his own new song. I would have been sad hearing it if I didn’t know there was much better copy sitting on my shelf. So thank you for helping me take a dozen GIANT steps closer to the true sound of this phenomenal album.(more…)
This was one of only threeClassic Records180 (later 200) gram titles that I used to recommend back in the day.
Now when I play the heavy vinyl pressing I find the subtleties of both the music and the sound that I expect to hear have simply gone missing. These days the Classic just sounds second-rate compared to the real thing. You can adjust the VTA of your rig until you’re blue in the face, you’ll never get the Classic to sound better than passable.
The average original pressing is better, and that means Classic’s version deserves a sub-standard grade of D.(more…)