- An excellent sounding copy with Double Plus (A++) sound from start to finish
- Every bit the sonic equal of the first album, if you colorful Big Production Jazzy Prog Rock (with mellotron!) is your thing you can’t go wrong here
- This early UK pressing plays as quietly as any we have ever heard – Mint Minus to Mint Minus Minus
- “Lizard is very consciously jazz-oriented — the influence of Miles Davis (particularly Sketches of Spain) being especially prominent — and very progressive, even compared with the two preceding albums.”
A distinguished member of the Better Records Rock and Pop Hall of Fame.
No doubt one can find original British copies of the albums from which these songs are taken that sound better, but they tend to be quite expensive and extremely hard to find in clean condition. This gets you most of the more important King Crimson material in one handy 2 LP album.
The Polydor reissues we’ve played were passable at best, and the Editions EG recut is a complete disaster. I’m sure the cassette produced back in the day had better fidelity. (more…)
- One of the best copies to ever hit the site, with Shootout Winning Triple Plus (A+++) grades or close to it on both sides
- This original UK Island pressing is bigger, richer, more Tubey Magical, clearer, and with better bass – it knocked us out
- Outside of the first three Roxy albums, there is simply no recording by the band that as good as the first three Bryan Ferry solo projects
- “Ferry for the most part looked to America, touching on everything from Motown to the early jazz standard that gave the collection its name… Wrapping up with a grand take on “These Foolish Things” itself, this album is one of the best of its kind by any artist.” – All Music
We had a nice stack of British copies to play and are happy to report that this one had an unbeatable Triple Plus (A+++) side two backed with a killer Double to Triple Plus (A++ to A+++) side one, both on very quiet vinyl. Anyone who digs Roxy Music or Bowie’s Pin-Ups is going to find a lot to like here. Check out the cool cover of A Hard Rain’s A-Gonna Fall that kicks off side one!
The sound positively JUMPS out of the speakers and fills the room. There’s loads of Tubey Magic, big punchy drums, and depth to the soundfield. (more…)
If you want to hear just how good Monk’s big, rich piano can sound, look no further.
Rudy Van Gelder, eat your heart out. This is the piano sound Rudy never quite managed. Some say it’s the crappy workhorse piano he had set up in his studio. Others say it was just poorly miked. Rather than speculating on something we know little about (good pianos and the miking) let’s just say that Columbia had the piano, the room and the mics to do it right as you can easily hear on this very record. (more…)
Presenting another entry in our extensive Listening in Depth series.
This is one of my favorite Bowie albums. Nobody seems to care about it anymore. They dismiss it as disco junk, but it actually has some of his best music on it. I especially like the song Win. David Sanborn’s saxophone sounds like it’s coming from 60 feet behind Bowie, a nice effect.
In-Depth Track Commentary
My favorite track on the album, an undiscovered gem in the Bowie catalog. (more…)
- KILLER sound from start to finish: Triple Plus on side two, nearly that good (A++ to A+++) on side one
- DEMO DISC QUALITY – full-bodied, rich, spacious, BIG and PRESENT, with practically zero smear on the horns (nice!
- The Tubey Magical keyboards found on the title cut are really something to hear, especially on this copy
- The Grand Wazoo now gets my vote as the best sounding record Zappa ever made (along with Absolutely Free)
Wow – big, present and clear, with lots of lovely studio space, yet full-bodied. These sides about as right as any we’ve ever heard.
As noted above, the Tubey Magical keyboards at the start of The Grand Wazoo are amazing sounding here. How Zappa ever decided to go digital when he managed to record so well in analog (from time to time, let’s be honest) is beyond me.
A Big Group of Musicians Needs This Kind of Space
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that — a copy like this one — it’s an entirely different listening experience. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
We award this copy’s side one our very special Four Plus A++++ grade, which is strictly limited to pressings (really, individual sides of pressings) that take a given recording to a level we’ve never experienced before and had no idea could even exist. We estimate that about one per cent of the Hot Stamper pressings we come across in our shootouts earn this grade. You can’t get much more rare than that.
- Beyond White Hot stamper sound on side one of this Turquoise Liberty Mono pressing – the sound is guaranteed to blow your mind
- Julie is in the room with you – intimate, breathy and Tubey Magical like practically nothing you’ve ever heard
- For late night listening this may be the best Sultry Female Vocal recording ever made
- “…one of the purest, most subtle lounge albums of all time (not to mention one of the best vocal jazz albums ever).”
This side had breathy resolution that was hard to believe, along with size and immediacy that no other side of any copy could touch. Phenomenal. (more…)
A distinguished member of the Better Records Orchestral Music Hall of Fame.
Interesting record. The first side sounds about like what one would expect from an old Columbia six-eye mono piano recording — not bad but not particularly good either, with a tonally correct but rather small and distant piano in the middle of a big room.
Imagine our surprise and delight when we flipped the record over and heard a shockingly ROBUST, CLEAR and PRESENT piano, sounding pretty much — if one were to close one’s eyes — like a real piano in a practice hall. We call it at least Super Hot Stamper sound. Without more copies to compare it to, this may be for all practical purposes As Good As It Gets.
We are not always enamored of original vintage pressings, but in this case, on at least side two, we heard the sound we were looking for. It’s doubtful we would hear that sound on many of the reissues. We’ve played a few and they sure never sounded like this! (more…)
- You’ll find outstanding Double Plus (A++) sound from first note to last on this Elton John classic
- The overall sound here is incredibly big, rich, spacious and dynamic with plenty of presence and bottom end weight
- An incredible recording and longtime member of our Top 100 — our pick for Elton’s very best music and sound
- 5 stars: “….their most ambitious record to date… A loose concept album about the American West… draws from country and blues in equal measures…”
Superb Music and Sound
This has to be one of the best sounding rock records of all time — certainly worthy of a Top Ten spot on our Top 100 list. Engineered by Robin Geoffrey Cable at Trident, there is no other Elton John recording that is as big and powerful as Tumbleweed. (more…)
Allow me to transcribe my notes:
The right sound — big, rich, tubey and real. Transparent. Rich, smooth, balanced. Horn gets huge and loud the right way. Piano is full. Solid bass.
No need to pick nits.
The Dog that Didn’t Bark in the Night
Normally our notes for the sound of the records we are shooting out against each other fall into two categories: what the record is doing right and what the record is doing wrong. You’ll note that in this case there was nothing wrong about the sound to write about. (more…)