*Our Record Overview – The Middling

The Doors – Waiting For The Sun on DCC Heavy Vinyl

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We rate the DCC LP a B Minus

We used to like the DCC pressing of this Doors album. Now… not so much. It’s a classic case of We Was Wrong.

Keep in mind that the only way you can never be wrong about your records is simply to avoid playing them. If you have better equipment than you did, say, five years ago, try playing some of your MoFi’s, 180 gram LPs, Japanese pressings, 45 RPM remasters and the like. You might be in for quite a shock.

Of course the qustion on everyone’s mind is, “How does this Hot Stamper copy stack up to the famous DCC pressing?” After all, it’s the one we were touting all through the ’90s as The One To Beat. (more…)

Rimsky-Korsakov / Scheherazade / Dorati – Reviewed in 2006

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One of the most dynamic Scheherazade”s on record. The brass really blasts through in this recording. 

Of course the question is how does this recording stack up to the famous Reiner. Well, I’ll tell you.

The Minneapolis Symphony Orchestra is not in the same league with the CSO, that’s well known. Dorati may be every bit as talented as Reiner, but he doesn’t have the players at his disposal capable of pulling off demanding material such as this.

But the orchestra acquits itself well here. The first violinist is quite good. That’s not the problem. What lets the side down is the Mercury recording team, who fail to adequately present the weight of the orchestra in the lower midrange and below. One thing I noticed recently when playing an original LSC 2446 was how rich and powerful the sound was in the lower strings and in the brass relative to later pressings of the same title and other recordings of the work. That opening movement of Scheherazade needs power down there and the Mercury simply doesn’t have enough of that power to qualify it as one of the top sounding Mercs. (more…)

For Pete’s Sake, What’s Wrong With Blue? – Thoughts on “The Definitive Vinyl” Version

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In 2007 a customer took issue with our summary rejection of the new Blue.

Tom, 

I find it curious you are not carrying the new Joni Mitchell Blue vinyl issue. Even to the point of saying you can do better… for 25 bucks? After clicking on the LP cover and reading the comments from over the years it makes me wonder what your agenda really is. I paid $250 for a wonderful WLP and this Rhino issue smokes it, even as good as it is. I even have a Cd cut from this mastering session off the analog FLAT, not Dolby tapes and this vinyl even beats it…. of course just my opinion.

I have listened on $100,000 systems, all the way down to portable units, solid state and tube and there is no denying this is the definitive vinyl version….. and again for 25.00. What a bargain.

Maybe all you did was look at that Rhino sticker and think back to the Grateful Dead records they did a few years ago (horrible) and just assumed this wasn’t up to Better Records standards.

Thanks for reading. I enjoy your e mails and store….

Tom

Tom,

We don’t review records based on their labels or stickers. And of course we never assume anything about the sound of a record. We talk about this stuff all the time. Here’s a relevant quote:

My approach to reviewing records is pure skepticism: a record sounds good if it sounds good, regardless of how it was made, who made it, or why. I’ve heard lots of expensive so-called audiophile equipment do a pretty poor job of making music over the years, the owners of which had an armful of reasons for why the sound should be truly awe-inspiring. But it just wasn’t. Most fancy gold faceplates are nothing but lipstick on a pig in my opinion.

I heard Blue poorly reproduced at a friend’s house, and this is probably the best explanation for this letter writer’s inability to understand our position on Blue.

And paying $250 for a White Label Demo that apparently doesn’t sound good is the height of audiophile collector foolishness. That money should have gone for better equipment or room treatments or tweaks, something, anything, to make this guy’s stereo and room work better than they do.

Actually this brings up a good point. If I had to choose one record that separates the men from the boys, the stereos that really work from the phony, lifeless audiophile systems you might read about in the magazines or hear at an audio show, Blue would be a darn good choice.

The problem there is that you have to be one serious record collector to have a great copy of Blue. But good pressings are out there, if you can clean and play them properly. This is why we created the Blue Game. It can be done, and we can help you get there, but most of the work has to be done by you.

Naturally we are happy to do the shootouts for you and charge you the pretty penny the winners command, but for those of you who want to find out what’s wrong with the new Blue and don’t want to buy a Hot Stamper from us, there is a third way: Blue, The Game.

Schubert / The Trout Quintet / Curzon – Speakers Corner – Reviewed in the ’90s

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Sonic Grade: B?

We were impressed with the Speakers Corner pressing when it came out back in the day. We’ve come to learn that it is such an exceptional recording that even their second rate remastering of it was still capable of producing a very good sounding record.

One of the ways you can tell how great a recording this is is simply this: as soon as the needle hits the groove you are immediately involved in the music, listening to each of the lines created by the five preternaturally gifted players, all the while marveling at Schubert’s compositional skills.

That’s what a good record is supposed to do. That’s supposedly why we’ve dumped so much money into all this fancy equipment. Because if you have records like this, and the equipment (fancy or otherwise) to play them, you will find yourself being transported to the musical space of the performance in a way that other recordings (read: Heavy Vinyl) simply will not allow you to be. (more…)

Benny Carter – Further Definitions – Reviewed in 2009

More Benny Carter

More Further Definitions

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This is an original Minty looking Impulse LP. What I played of this album sounded nice and smooth. There may be livelier copies out there — who can say? I just don’t come acoss enough clean ones to know what the potential for this album is. I prefer smooth to aggressive, that’s for sure. Top players on this album include Coleman Hawkins, Philly Jo Jones, Phil Woods, Charles Rouse and others.   

TRACK LISTING

Honeysuckle Rose 
The Midnight Sun Will Never Set 
Crazy Rhythm 
Blue Star 
Cotton Tail 
Body and Soul 
Cherry 
Doozy

AMG Review

The band was gathered from jazzmen then working in the L.A. studios, including Carter and Bud Shank on altos, and tenors Teddy Edwards and either Buddy Collette or Bill Perkins. Although Benny Carter was not actively playing much at the time, he is heard in typically prime form. Very highly recommended. 

Frank Sinatra and Count Basie – Sinatra At The Sands – Mobile Fidelity Reviewed

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Sonic Grade: B

Another MoFi LP reviewed.

It’s pretty good. Compressed and veiled, but the tonality is correct. I give it a B. It will beat the vast majority of reissues, which tend to be thin, gritty, and woefully lacking in Tubey Magic. And the vinyl will be quiet, which is something not many of the best pressings can offer. 

But who wants to listen to a B grade record when we you can buy A and A+ pressings from us? (more…)

Stravinsky – Le Sacre du Printemps – Solti – Speakers Corner Reviewed

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Sonic Grade: B

A fairly good Speakers Corner Decca.

Years ago we wrote the following: “Wow! What a performance! What dynamic full bodied sound! To be fair, I pulled out my original London, one of those awful mid-’70s English pressings that are never quiet, and yes, some of the ambience on the original is missing here on the new version, but everything else seems right: dynamics, tonality, the frequency extremes (including some pretty awesome deep bass).”

Can’t be sure we would still feel that way but I’m guessing this is a good record if you can pick one up at a cheap price. 

If you have a quiet original, great, consider yourself lucky. As few of you have any copy at all, I recommend this one. The alternative is to miss Solti’s energetic performance and the precision of the Chicago Symphony, one of the few orchestras capable of making sense out of this complex and infuriating work. (At least it used to infuriate audiences. Now our modern ears can take a difficult work like this and appreciate the complex rhythms and atonality as the expression of a truly original mind.

This is not music to play during dinner. This is music to engage the mind fully. It belongs in any collection. Yours in fact. Unless you have small speakers, in which case you would be wasting your money, as small speakers cannot begin to reproduce the power of this work in the hands of Solti and the CSO.

Borodin / Symphonies 2 & 3 / Ansermet – Speakers Corner Reviewed

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Sonic Grade: C?

A decent Speakers Corner Decca.

The Speakers Corner heavy vinyl reissue of this title is not bad, but like all reissues it lacks the weight found on the originals. I remember it being a little flat and bright. I haven’t played it in years so I could easily be wrong. The glorious sound I hear on the best pressings is not the kind of thing I hear on 180 gram records by Speakers Corner, or anybody else for that matter. (more…)

Tchaikovsky / 1812 Overture, Op. 49 / Kunzel – Telarc Debunked

More Peter Ilyich Tchaikovsky (1840-1893)

More 1812 Overture, Op. 49 / Kunzel

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Sonic Grade: D

A Hall of Shame pressing.

If you want an amazingly dynamic 1812 with huge amounts of deep bass for the firing of the cannon you can’t do much better than this (or its UHQR brother). 

But if you want rich, sweet and tonally correct brass and strings you had best look elsewhere. I’ve never liked the sound of this record and I’m guessing if I heard a copy today I would like it even less. Who thinks live classical music actually sounds like this? (more…)

Why Own a Turntable if You’re Going to Play Mediocrities Like These?

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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: AjaAqualung 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…)