Sonic Grade: F
Pure mud. No top end whatsoever!
Sonic Grade: F
Pure mud. No top end whatsoever!
A distinguished member of the Better Records Rock and Pop Hall of Fame.
A KILLER THRILLER, with an A+++ side one that’s going to knock you out! That gives you TOP SHELF SOUND for songs including Wanna Be Startin’ Somethin’ and the title track, which are going to BLOW YOU AWAY! So many copies of Thriller out there just don’t deliver, but this side one does almost everything right. (more…)
Michael Jackson’s records always make for tough shootouts. His everything-but-the-kitchen-sink approach to recording make it difficult to translate so much sound to disc. vinyl or otherwise. Everything has to be tuned up and on the money before we can even hope to get the record sounding right. (Careful VTA adjustment could not be more critical in this respect.) (more…)
On the better copies the multi-tracked chorus and background vocals are as breathy, rich, sweet and Tubey Magical as any pop recording we know of. An extended top end opens up the space for the huge, dense production to occupy. There is Midrange Magic To Die For exceeding anything to be found on Thriller.
Don’t Stop ‘Til You Get Enough
The first single from the album was designed to go to Number One and it certainly met all expectations in that regard.
On the properly mastered and pressed copies the vocals and percussion will be a bit brighter than those on most of the tracks that follow. The percussion is often somewhat brittle on even the best copies; it’s surely on the tape that way.
It should be big, clear and lively right out of the gate. (more…)
Note that the slightly better sounding of the two sides here is the second side, which we feel is the stronger side of the album. with Beat It, followed by Billie Jean and ending on the single most emotional song MJ ever sang, The Lady in My Life.
Clearly one of the greatest lineups to be found on any side of any album from any era. No other Michael Jackson album can hold a candle to it.
The sound on this copy is huge, with the kind of three-dimensional soundstaging that lets the music unfold in front of you and around you as well. The bass is meaty and well-defined, showing you the rhythmic foundation that the music needs. The overall sound is transparent with amazing texture to practically every element.
Michael’s voice is marvelous on this copy — breathy, textured, and positively dripping with emotion (just listen to him break down on The Lady in My Life). (more…)
This copy has Triple Plus Shootout Winning sound on side one!
The sound on this copy is huge — big, wide, deep, and open, with the kind of three-dimensional soundstaging that lets the music unfold in front of you and around you as well. You get the bottom end punch that’s so crucial to this music and tons of energy as well. The bass is meaty and well-defined, showing you the rhythmic foundation that the music needs. The overall sound is transparent with amazing texture to practically every element.
Michael’s voice is marvelous on this copy — breathy, textured, and positively dripping with emotion (just listen to him break down on The Lady in My Life).
A Real Thrill(er)
Thanks to constant improvements in our stereo, we’re now getting this album to sound better than it ever has. Extended highs appeared where none had been before. We were hearing synthesizers buried deep in the mix we’d never heard. All of a sudden, these ’80s pop records had amazing analog magic.
If your system is up to the task, you won’t believe how big and lively this album sounds. Who woulda thunk it? (more…)
ABSOLUTELY STUNNING SOUND for this White Hot Stamper pressing!
Both sides cannot be beat — both have the BIG M.J. SOUND that jumps from the speakers and fills the room. We’ve never a copy that was so full of ANALOG MAGIC!
The vocals are PERFECTION — breathy, full-bodied, and present. The overall sound is open, transparent, and PUNCHY with rock solid bass. The top end is extended and sweet, with tons of ambience the likes of which I’ve never heard before.
Normally when you have a copy with plenty of presence it’s somewhat sibilant in places. Not so here. For some reason this copy has all the highs, but it’s cut so clean it practically doesn’t spit at all. Even on the song I Can’t Help It, which normally has a problem in that respect. Since that’s my favorite song on this album, and probably my favorite MJ song of all time, hearing it sound so good was a revelation.
Better Sound than Thriller?
Yes. As consistently brilliant as Thriller may be musically — it is the biggest selling album of all time after all — speaking strictly in terms of sonics the sound of the best copies of Off the Wall is substantially sweeter, tubier, more natural, richer, and more ANALOG than Thriller.
Thriller is clearly more aggressive and processed-sounding than Off the Wall. The Girl Is Mine or Human Nature from Thriller would fit just fine anywhere on Off the Wall, but could the same be said for Beat It or Thriller? Just thinking about them you can hear the artificiality of the sound of both those songs in your head. Think about the snare that opens Beat It. I’ve never heard a snare sound like that in my life. Practically no instrument on Off the Wall has that kind of overly processed EQ’d sound.
Choruses Are Key (more…)