Labels With Shortcomings – Sundazed

The Lovin’ Spoonful – The Best You Can Hope for from the Idiots at Sundazed

Hot Stamper Pressings of Sixties Pop Albums Available Now

Sonic Grade: D

The best sounding of the Lovin’ Spoonful records I’ve heard on Sundazed, which means that the others would get an F for sound. Don’t waste your money.

I’d be surprised if the CDs weren’t better sounding. Many of the Sundazed CDs I’ve played are actually quite good.

Their records, however, are almost always flat as a pancake and dead as a doornail.

The Sundazed pressing of Daydream came out in 2002, probably the year that the review above was written. Little did I know that the sound of remastered records pressed on Heavy Vinyl was not only never going to improve, but would actually get worse over the coming decades.

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Fifth Dimension – More Dead as a Doornail Sundazed Sound

Hot Stamper Pressings of Sixties Pop Recordings Available Now

This review was written probably more than twenty years ago, back in the day when we actually would order up the latest Sundazed title in the hopes of finding something worth offering to our customers. Looking back, it’s hard to imagine a bigger waste of our time. So few were any good and so many were terrible, why were we bothering to fish where there weren’t any good fish?

Through it all, through the worst of those dark days, somehow we managed to learn some important lessons.

The main lesson we learned was that there was no record with sound so bad that it could not be released.

Even worse, there was no record with sound so bad that it would prevent the better known reviewers from raving about it. (If you think anything has changed, just pull up the latest TAS Super Disc list. The bad souding Heavy Vinyl pressings to be found there far exceed the good sounding vintage pressings they’ve nominated for inclusion over the last 50 years. A small sample.)

Our days playing and selling even the best of these kinds of modern reissues are long gone. By 2007 everything had changed.

Our Old Review

The best stereo copies are rich, sweet and Tubey Magical — three areas in which the Sundazed reissues are seriously lacking.

If anyone still cares, anyone besides Michael Fremer, that is. He seems to like some of their remastered records. We can’t be bothered with mediocrities such as this and the rest of their sorry output, but apparently people are still buying these records. The label is still in business and cranking out more dreck with each passing year. 

And none of the Columbia monos we’ve played did much for us either. Congested and compressed, with no real top, who in his right mind could possibly prefer that sound?

Audiophiles? Record collectors? What in god’s name are they listening with, or for?

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How Can Sound This Bad Possibly Earn a 10?

Hot Stamper Pressings of the Music of Bob Dylan Available Now

Maybe if the scale goes from 1 to 100, sure, I could see it. Yeah, 10 out of 100 sounds about right.

But the scale goes to 11, which makes a grade of 10 risible to anyone who has played this seriously flawed pressing. Here is how we described its sound many years ago:

We found this mono reissue to be flat as a pancake and dead as a doornail, like most of the Sundazed records we’ve played, starting way back in the early 2000s. No, they never got any better.

In our experience, Sundazed is one of the worst record labels of all time. This pressing is just more evidence to back up our low opinion of them.

Obviously we may have a low opinion of them, but a famous audiophile reviewer seemed to find the sound to his liking. He wrote:

Sundazed’s reissue gives the original a run for the money and remains true to the original, though it suffers in the bass, which while deep and reasonably well defined, is not as tightly drawn or focused. The upper mids on the original also bloom in a way that the reissue’s don’t, giving the reissue a slightly darker, recessed sound, but there’s still sufficient energy up there since Dylan’s close-miked vocals pack an upper midrange punch. If the vocals or harmonica sound spitty and unpleasantly harsh, it’s your system, not the record [!] – though there’s plenty of grit up there. On the plus side, the overall clarity and transparency of the reissue beats the original. [!] A really fine remastering job.

Of course we find every word of this review arrant nonsense, except the discussion of the qualities he praises in the original relative to the reissue. It’s been twenty years since this remastered pressing came out, does anybody still like the sound of it? Anybody? Let’s hope not.

The intro to his review boldly declares a respect for Sundazed (and Classic Records and Analogue Productions) that we find puzzling after playing so many of their rarely-better-than-awful-sounding records. (Here is a commentary from 2007 that puts our antipathy in perspective. And no, modern records have no improved since then, if the releases from 2024 are any indication.)

Sundazed’s decision to issue Blonde on Blonde using the much sought after mono mix is indicative both of the company’s dedication to doing what’s musically correct, and of the vinyl marketplace’s newfound maturity. There was a time a few years ago when no “audiophile” vinyl label would dare issue a mono recording; audiophiles wouldn’t stand for it was the conventional wisdom. Perhaps back then it was even true. Today, with Sundazed, Classic, Analogue Productions and others issuing monophonic LPs on a regular basis (and one has to assume selling them as well) listeners are appreciating the music for music’s sake, and equally importantly, for the wonderful qualities of monophonic sound reproduction.

My grade might be 2 out of 11. No audiophile should be fooled by the crap sound of this pressing, and no audiophile should believe a word of this review.

Reviewer incompetence? We’ve been writing about it for more than 25 years. From the start we knew we could never begin to do much more than scratch the surface of preposterous record reviews in need of rebuttal. The audiophile world is drowning in this sh*t.

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1A, or Is 1B Better on Parsley, Sage, Rosemary and Thyme? Your Guess Is As Good As Mine

Hot Stamper Pressings of the Music of Simon and Garfunkel Available Now

UPDATE 2024

Speaking of 1A and 1B, the evidence is in. We have now confirmed that one of these sets of stampers (one for each side) can win shootouts. Which of the two it is we will leave to you to discover, as we make it a point never to give out the shootout winning stampers except under the rarest of circumstances. We give out plenty of stamper information, just not the stampers of the winners.

We now return to our commentary from many years ago:

Before we go any further, I have one question:

Why are we guessing?

I received an email recently from a customer who had gone to great pains to do his own shootout for a record; in the end he came up short, with not a lot to show for his time and effort. It had this bit tucked in toward the end:

Some of [Better Records’] Hot Stampers are very dear in price and most often due to the fact that there are so few copies in near mint condition. I hate to think of all the great Hot Stampers that have ended up in piles on the floor night after night with beer, Coke, and seeds being ground into them.

Can you imagine all the 1A 1B or even 2A 2B masters that ended up this way or were just played to death with a stylus that would be better used as a nail than to play a record!

To be clear, it’s extremely unlikely than any Hot Stampers have ever ended up in piles on the floor. Hot Stampers are not just originals or good sounding records.

They are pressings that have been cleaned, gone through the shootout process and found to be superior to their competition. Until they prove themselves, records like the ones whose unfortunate fate this reviewer fantasizes about are just old records that had the potential to sound good but never got the chance to demonstrate they had better sound than other pressings.

As it so happens, shortly thereafter I found myself on Michael Fremer’s old website of all places, where I saw something eerily similar in his review for the (no doubt awful) Sundazed vinyl. I quote below the relevant paragraphs.

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The Lovin’ Spoonful on Sundazed Vinyl

More Reviews and Commentaries for the Music of The Lovin’ Spoonful

Hot Stamper Pressings of Sixties Pop Albums Available Now

Sonic Grade: F

Flat as a pancake and dead as a doornail, like practically eveery one of the other Sundazed records we played all those years ago.

Can the CD sound this flat and dead? 

I would bet money that it kills this piece of Heavy Vinyl trash. 

If you own this awful record, buy the CD and find out for yourself if it isn’t better sounding.

Yes, this is yet another Audiophile Hall of Shame pressing and another Disastrous Heavy Vinyl release with godawful sound.

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.

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Spirit’s Third Album, Clear – Another Useless Sundazed Heavy Vinyl LP

Reviews and Commentaries for the Music of Spirit

Hot Stamper Pressings of Psychedelic Rock Recordings Available Now

Sonic Grade: F

Although it’s been many years since I last played it, I’m fairly confidant that the Sundazed only hints at the real sound of the best copies. Most Sundazed records would end up in our Audiophile Hall of Shame if we ever bothered to audition them.

Being in the “record business,” such as it is, I’ve played my share and more of awful sounding Heavy Vinyl.

Even back in the (embarrassing) days when we were selling them we carried only about one out of ten that were in print. A big portion of the nine we didn’t stock were just awful as I recall.

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Love’s Debut and Forever Changes on Heavy Vinyl – Indefensible Dreck from Sundazed

More of the Music of Love

Two audiophile hall of shame titles, and another two Sundazed records reviewed and found seriously wanting.

We got hold of a minty original pressing of the first Love album back around 2007, so in preparation for the commentary I pulled one of the Sundazed pressings off the shelf, (Forever Changes, the only one we ever bothered to sell), cracked it open and threw it on the turntable. 

Gag, what a piece of crap. When I had auditioned them all those years ago (2002), it was — I’m not kidding — the best of the bunch.

The sound to me back then was nothing special, but not bad. Knowing how rare the originals were, we gave it a lukewarm review and put it in the catalog, the single Sundazed Love album that (just barely) made the cut.

Now I wish I hadn’t, because no one should have to suffer through sound that bad. Here’s what I wrote for the shootout:

You’d never know it from those dull Sundazed reissues, but the right pressings of Love albums are full of Tubey Magic! With Bruce Botnick at the controls you can expect a meaty bottom end and BIG rock sound, and this recording really delivers on both counts.

With Sundazed mastering engineers running the show, you can expect none of the above.

No Tubey Magic, no meaty bottom end, no big rock sound.

After the shootout, I took the two copies we had in stock right down to my local record store and traded them in. I didn’t want them in my house, let alone on my site.

I’m glad that title didn’t sell very well because now I feel I owe a personal apology to anyone who might have bought one from me, thinking they were getting a half-way decent record.

They were getting no such thing. They were getting a piece of garbage. 

A textbook case of live and learn.

The Times They Are A-Changin’ – A Sundazed Winner?

More of the Music of Bob Dylan

Reviews and Commentaries for the Music of Bob Dylan

This review was written in 2001, upon the release of the album. It has since be remastered and re-released on Sundazed in 2014. I would take our commentary below with a huge grain of salt.

In 2001 we still liked DCC’s Heavy Vinyl pressings, so we were definitely not where we needed to be in order to judge records properly, but we sure thought we were!

That said, this may be a very good sounding record, and if you can find one for cheap, and don’t have the money for one of our amazing Hot Stamper pressings, it might just be a good way to go. We simply have no way of knowing whether we were right or wrong about the sound of this pressing twenty years ago when we wrote our review.

You can read more about our many, many mistaken judgments from the old days here, under the heading: Live and Learn.

Our 2001 Review

Sundazed finally gets one REALLY right! The mono version here MOIDERS the competition. (It’s a mono recording with stereo echo added — how tough can it be?)

Considering Sundazed‘s dismal track record, I wouldn’t have thought they could do anything right.

[And I can’t even say that I have much confidence that they actually did make a good sounding record in this case!]

Two Reviews of Child Is Father to the Man – Fremer Vs. Better Records

Hot Stamper Pressings of the Music of Blood, Sweat and Tears Available Now

In 2010 MF reviewed both the Sundazed and Speakers Corner Heavy Vinyl pressings of the album.

I think his review is mistaken on a number of counts, and mostly unhelpful. The commentary below will discuss his errors in more detail, in the hopes that you, dear reader, will not make the same mistakes yourself. 

He talks about his history with the album for a while, and then notes:

Anyway, the original “360 Sound” edition of this record sounds fantastic. It’s a high quality Columbia studio recording, with vivid harmonics, impressive transparency and dynamics, shimmering highs and tight extended bass. The soundstage is expansive and the images tightly presented. I’m not sure it can get much better than the original given how well-pressed Columbia records were in those days, especially if you have a clean original.

We, however, seem to hold precisely the opposite view. I quote from our review:

Why did it take us so long [to do a Hot Stamper shootout]? Let me ask you this: have you ever played this album? The average copy of this record is a sonic MESS. Even the best copies have problems.

We then go on to discuss in detail what most copies do wrong and what to listen for in order to find a copy that gets it right. (More on that later.)

Shortcomings? What Shortcomings?

Fremer continues:

There are two reissues of this. One is from Sundazed and there’s a far more expensive one from Speakers Corner…

The Speakers Corner reissue, which uses the wrong label art is pressed at Pallas and consequently it’s quieter and better finished overall. However, the Sundazed copy I got was very well finished and reasonably quiet, but not as quiet.

On the other hand the Speakers Corner version was somewhat more hyped up at the frequency extremes and cut somewhat hotter, but not objectionably so. The Sundazed sounds somewhat closer to the original overall, so for half the price, you do the math.

“Somewhat hyped up”? We liked it a whole lot less than Mr. Fremer apparently did. Early last year I gave it a big fat F for failure, writing at the time:

This is the worst sounding Heavy Vinyl Reissue LP I have heard in longer than I can remember. To make a record sound this bad you have to work at it.

What the hell were they thinking? Any audiophile record dealer that would sell you this record should be run out of town on a rail. Of course that won’t happen, because every last one of them (present company excluded) will be carrying it, of that you can be sure.

Just when you think it can’t get any worse, out comes a record like this to prove that it can. I look forward to Fremer’s rave review.

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Blonde on Blonde Is a Joke on Sundazed in Mono

Hot Stamper Pressings of the Music of Bob Dylan Available Now

Flat as a pancake and dead as a doornail, sounding like most of the Sundazed records we used  to play all those years ago. (We admit we even sold a few of their titles too.)

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

Sundazed is clearly a label that should be avoided by audiophiles looking for high quality sound. Their incompetent remastering hack work on Blonde on Blonde is just more evidence to back up our low opinion of them.

There is an abundance of audiophile collector hype surrounding the hundreds of Heavy Vinyl pressings currently in print. I read a lot about how wonderful their sound is, but when I actually play them, I rarely find them to be any better than mediocre, and many of them are downright awful.

Music Matters made this garbage remaster. Did anyone notice how awful it sounded? I could list a hundred more that range from bad to worse — and I have!

Audiophiles seem to have approached these records naively instead of skeptically.

(But wait a minute. Who am I to talk? I did the same thing when I first got into audio and was avidly collecting records in the Seventies.)

How could so many be fooled so badly? You would think that some of these people have good enough equipment to allow them to hear how substandard these records sound.

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