- Tired of the crude, congested, hard, harsh and otherwise unpleasant sound of most pressings? The solution is right here!
- Stand, I Want To Take You Higher, Everyday People, You Can Make It If You Try — what a killer lineup of songs
- 5 stars: “Stand! is the pinnacle of Sly & the Family Stone’s early work, a record that represents a culmination of the group’s musical vision and accomplishment. …everything simply gels here, resulting in no separation between the astounding funk, effervescent irresistible melodies, psychedelicized guitars, and deep rhythms.”
- This is a Must Own Soul Classic from 1969 that belongs in every right-thinking audiophile’s collection
- The complete list of titles from 1969 that we’ve reviewed to date can be found here.
This review for a killer copy of Thriller that we discovered in our 2006 shootout gave us a whole new appreciation for just how good the record could sound. It was a real breakthrough, and proof that significant progress in audio is just a matter of time and effort, the more the better.
Our review from 2006
I remember twenty years ago playing Thriller and thinking they were all so transistory, spitty, and aggressive sounding.
Well, I didn’t have a Triplanar tonearm, a beautiful VPI table and everything that goes along with them back then. Now I can play this record. I couldn’t back then. All that spit was simply my table not being good enough as well as all the garbage downstream from it that was feeding the speakers.
The record is no different, it just sounds different now. In other words, this record is a great test. If you can play this record, you can play practically anything.
This pressing has a side two that is so amazing sounding that it COMPLETELY CHANGED my understanding and appreciation of this album. The average copy is a nice pop record. This copy is a MASTERPIECE of production and engineering.
After playing a bunch of these we noticed some recurring shortcomings on most of the pressings. Either they lacked extension on the top end or they lacked bass definition and weight, or both. When this copy hit the table, the first thing we noticed was that the top end was Right On The Money and the bottom end was also Right On The Money. Not surprisingly, the middle fell right into place.
It ended up having the most ambience, the most transparency, the most resolution, the most dynamic contrasts, the most presence — in short, it had more of EVERYTHING than any copy we’ve ever heard. The lesson to be learned there may be that when the extremes are somehow properly transferred to the vinyl, the middle will take care of itself. Since the extremes seem to be the hardest thing to get right, at least on this record, that might explain why so many copies don’t quite cut the mustard.
Side one fits perfectly into this theory. The bottom end is MEATY with plenty of punchy, solid bass, but the top end is lacking a bit of extension compared to the very best. The result is that there’s a trace of hardness in the vocals that shouldn’t be there. If you can add a dB or two of extreme highs, EVERYTHING will sound right on side one. It all comes back to life.
Musically side two is one of the strongest in the entire Simon and Garfunkel oeuvre (if you’ll pardon my French). Each of the five songs could hold its own as a potential hit on the radio, and there is no filler to be found anywhere. How many albums from 1968 can make that claim?
The estimable Roy Halee handled the engineering duties. Not the most ‘natural” sounding record he ever made — the processing is heavy handed on a number of tracks — but that’s clearly not what he or the duo were going for. If you want natural, Parsley, Sage, Rosemary and Thyme has what you are looking for. That said, as of 2022 both are Top 100 Titles.
The three of them would obviously take their sound much farther in that direction with the Grammy winning Bridge Over Troubled Water from 1970.
The bigger production songs on this album have a tendency to get congested on even the best pressings, which is not uncommon for four track recordings from the ’60s. Those of you with properly set up high-dollar front ends should have less of a problem than some. $3000 cartridges can usually deal with this kind of complex information better than $300 ones.
But not always. Expensive does not always mean better, since painstaking and exacting setup is so essential to proper playback.
The Wrecking Crew provided top quality backup, with Hal Blaine on drums and percussion, Joe Osborn on bass and Larry Knechtel on piano and keyboards.
In-Depth Track Commentary
Save the Life of My Child
One of the biggest problems we ran into over and over again with this album is a lack of top end. The sound gets a bit too smooth and some of the ambience and spaciousness of the studio disappears. (This, to a much stronger degree, is the problem from which the DCC suffers.)
On the best copies note how silky the cymbal crashes are; not too many copies get them to sound that way.
The sound has the potential to be POWERFULLY BIG AND BOLD, with meaty, deep bass (such a big part of the rockers here, Thing Called Love being a prime example) and some of the sweetest, richest, most ANALOG sound we’ve heard from any record Don Was has been involved with.
When you hear it like this — something probably pretty close to what he heard during the control room playback for the final mix — it actually makes sense. It works. It’s not exactly “natural”, but natural is not what they were going for, now is it?
What to Listen For
Listen especially for how all the elements of the recording are clearly laid out and audible, never forced or hyped in any way. The sound can be so 3-D!
Key note for side two — listen for the sibilance on Bonnie’s voice on Too Soon to Tell. Some copies have really gritty, spitty sibilance, others keep it well under control, with a much more silky quality to her vocals.
We play albums like this VERY LOUD. I’ve seen Bonnie Raitt live a number of times and although I can’t begin to get her to play as loud in my living room as she did on stage, I can try. To do less is to do her a great disservice.
Presenting another entry in our extensive Listening in Depth series with advice on what to listen for as you critically evaluate your copy of Gaucho.
Here are some albums currently on our site with similar Track by Track breakdowns.
Of all the great albums Steely Dan made, and that means their seven original albums and nothing that came after, there are only three in our opinion that actually support their reputation as studio wizards and recording geniuses.
Chronologically they are Pretzel Logic, Aja, and Gaucho. Every sound captured on these albums is so carefully crafted and considered that it practically brings one to tears to contemplate what the defective DBX noise reduction system did to the work of genius that is Katy Lied, their best album and the worst sounding. (Those cymbal crashes can really mess with your mind if you let them. To get a better picture of the DBX sound just bang two trash can lids together as close to your head as possible.)
The first two albums can sound very good, as can Royal Scam, but none of those can compete with The Big Three mentioned above for sonics. A Hot Stamper copy of any of them would be a seriously good sounding record indeed. (more…)
Sonic Grade: C
If you own the Mobile Fidelity LP, do yourself a favor and buy one of our Hot Stamper pressings. (Actually any good British import pressing will do.)
What’s the first thing you will notice other than correct tonality, better bass and a lot more “life” overall?
No spit! As we’ve commented elsewhere, because of the wacky cutting system they used, Mobile Fidelity pressings are full of sibilance.
As I was playing a British pressing of this record many years ago, maybe by about the fifth or sixth song it occurred to me that I hadn’t been hearing the spit that I was used to from my MoFi LP. You don’t notice it when it’s not there.
But your MoFi sure has a bad case of spitty vocals. If you never noticed them before, you will now. (more…)
Can you take the guesswork out of buying brand new high quality records?
The answer is no and it must forever remain no.
Many audiophiles are still operating under the misapprehension that Mobile Fidelity, with their strict “quality control,” managed to eliminate pressing variations of the kind we discuss endlessly on the site.
Such is simply not the case, and it’s child’s play to demonstrate how mistaken this way of thinking is, assuming you have these four things:
- Good cleaning fluids and a machine,
- Multiple copies of the same record,
- A reasonably revealing stereo, and
- Two working ears (I guess that’s actually five things, my bad).
With all five the reality of pressing variations — sometimes subtle, sometimes dramatic — for ALL pressings is both obvious and incontrovertible.
The fact that this is a controversial viewpoint in 2022 does not speak well of the audiophile community.
The raison d’être of the Limited Edition Audiophile Record is to take the guesswork out of buying the Best Sounding Pressing money can buy.
But it just doesn’t work that way. Not that I hate to be the bearer of bad news, but our entire website is based on the proposition that nothing of the sort is true. If paying more money for an audiophile pressing guaranteed the buyer better sound, 80% of what we do around here would be a waste of time. Everybody knows what the audiophile pressings are, and there would be nothing for us to do but find them and throw them up on the website for you to buy. Why even bother to play them if they all sound so good?
I was guilty of the same bad audiophile thinking myself in 1982. I remember buying the UHQR of Sgt. Pepper and thinking how amazing it sounded and how lucky I was to have the world’s best version of Sgt. Pepper. Yay for me!
If I were to play that record now it would be positively painful. All I would hear would be the famous MoFi 10K boost on the top end (the one that MoFi lovers never seem to notice), and the flabby Half-Speed mastered bass (ditto). Having heard really good copies of Sgt. Pepper, like the wonderful Hot Stampers we have on the site most of the time, now the MoFi UHQR sounds so phony to me that I wouldn’t be able to sit through it with a gun to my head.
Presenting another entry in our extensive Listening in Depth series with advice on what to listen for as you critically evaluate your copy of Still Crazy. Here are some albums currently on our site with similar Track by Track breakdowns.
As exceptionally well-produced, well-engineered Pop Albums from the ’70s, the very best copies can proudly hold their heads high. Wait a minute. Our last commentary noted what a mess most of the pressings of this album sound like, with so much spit and grain. Have we changed our minds? Well, yes and no, and as usual we make no excuses for having changed our minds. We call it progress.
Yes, most copies are still a mess, but No, some copies now sound far better than we ever thought possible.
As we noted in our previous commentary for the Hot Stamper Still Crazy (back in 2005!), when we first dropped the needle on side one of another copy of this record, we were shocked to hear how spitty, grainy and transistory sounding the album was. We could hardly believe that a mainstream pop album by Paul Simon could sound this bad. It was pure spitty DISTORTION with ZERO midrange magic. A CD would sound better. Even Graceland, a famously compressed, phony, digital sounding album wouldn’t sound this bad!
A bad copy you say? Maybe they don’t all sound bad on side one, but there sure are a lot of them that do. Two tracks in particular — in fact, the two biggest tracks on side one — have fairly bad sound on almost any copy you play: Still Crazy and 50 Ways…
The True Tests for Side One
What separates the mediocre-to-bad-sounding average copy from a Hot Stamper is how well mastered those two songs are. In other words, if you get those two tracks right — breathy vocals, sounding smooth and sweet, with the sibilance under control, supported by good solid bass — the whole side is going to be good, maybe even as good as it gets.
We noted previously that:
“… side two on every copy is better sounding than side one. Why this is I have no idea. It’s not as though they recorded all of side one’s tracks together and they didn’t come out as well. That’s not the way it’s done. The order of the tracks is determined long after they are recorded and mixed. But the songs on side two are consistently more open and sweeter, with silkier, more delicate background vocals and a more natural timbre to Paul’s voice. He sounds less like a transistor radio and more like a person.”
That turned out to still be generally true, but there were some exceptional sounding sides twos in this batch, so we can’t say that side two is always worse, just most of the time.
There is no substitute for having multiple clean copies and shooting them out. Every copy I played was original — no Nice Price junk, no bad imports, no throwaways. Good copies are the rare exception on this album — sad, but true. If you have an LP of this one, see how much Still Crazy spits. I’ll bet it spits like crazy; most of them do.
In-Depth Track Commentary
Still Crazy After All These Years
The toughest test of them all. If this song sounds good, you are 90% of the way there.
My Little Town
This track was supposed to be a hit single and has the radio mix to prove it, and it WAS a hit, but it’s not exactly as pleasing to the audiophile ear as the other songs on the side.
I Do It for Your Love
50 Ways to Leave Your Lover
This track often has some midrange hardness and more of a dry, transistory quality than others on side one, that is of course unless you happen to be playing an exceptionally good copy. The better copies also seem to have substantially more ambience. It’s really a quite well recorded song when good mastering lets you hear it right.
On most copies, in the louder parts of the chorus there is also something that sounds like compressor or limiter distortion on the voices. Turns out it’s actually a mastering or pressing issue; on the best copies the loudest vocal parts sound just fine.
How about that awesome Steve Gadd drum part? What pop song relies more on its beat than this one? It’s practically worth the price of the album to hear those drums sound so good.
We stopped doing shootouts for this album many years ago after running into too many mediocre-at-best if not downright awful sounding copies. These notes are from about ten years ago.
Replay is a very handy record for setting your VTA. The end of Shadow Captain has loud vocals and punchy bass, which are a bit difficult to reproduce. (Forget trying to get this song to sound good if you don’t have an exceptionally good copy.)
The next song is To The Last Whale, which starts with Nash and Crosby’s multitracked voices in a big hall. With the correct VTA, their voices should sound silky and sweet. If your arm is too far down in the back, they will get a bit dull. Too high, and they will lose that breathy, “fluffy” quality.
And once you get their voices to sound just right, make sure the ending of Shadow Captain is still punchy and dynamic.
A crappy remix, with added guitar, ugh. (more…)
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 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?
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.