More of the Music of George Benson
More Recordings Engineered by Rudy Van Gelder
Some notes about this shootout from years back may be instructive.
White Hot Stamper sound on side two, which means this copy has the power to show you just how well-recorded the album really is, and how much energy and drive there is to both the sound and the music.
No other side of any copy earned the full Three Plus White Hot grade, so this is a very special side indeed. [Now that we are much better at our jobs — see the advice at the end of this review — this happens only a few times a year.]
We didn’t run into any awful CTI originals the way we do with the typical rock record from the ’70s, but it’s the rare copy that has a real top end, or much in the way of transparency, or freedom from smear. This copy has all three, without any sacrifice in richness or Tubey Magic.
Rich, full-bodied sound is not hard to find on Bad Benson; most copies had the goods in the bass and lower midrange.
Your Old Stereo (If You Had One in the Seventies)
On the other hand, clarity, top end, transparency and freedom from smear were hard to come by on all but a few copies. Most copies sound pretty much like your old ’70s stereo system — you know, the one you had with the three-way box speakers sitting on concrete blocks.
Fat, blurry down low, thick, opaque and smeary, that sound was everywhere. Pleasant, but not much more than that.
[This seems like an apt description for the records currently being pressed on Heavy Vinyl, wouldn’t you say?]
We’ve come a long way since then. Some pressings still have that sound to a degree, but with so many audio revolutions taking place over the last twenty years, now we can get dramatically more out of even the sub-optimal copies.