These are just some of the Weather Report recordings we’ve auditioned over the years and found wanting. Without going into specifics we’ll just say these albums suffer from poor performances, poor sound, or both, and therefore do not deserve a place in your collection, and may even belong in our Hall of Shame.
A Free Service provided to the Audiophile Public, courtesy of Better Records.
A killer copy hasn’t hit the site in a while, but here’s one with nearly Triple Plus (A++ to A+++) Demo Disc sound on both sides
Boogie Woogie Waltz was one of the most mindblowing tracks found on any album from 1973
The sound is huge, spacious, lively, transparent and punchy – this is jazz fusion that really rocks
” It is the groove that rules this mesmerizing album, leading off with the irresistible 3/4 marathon deceptively tagged as the “Boogie Woogie Waltz” and proceeding through a variety of Latin-grounded hip-shakers.” 4 stars
The top end is fully extended here in a way that most copies barely hints at, and the overall sound is amazingly transparent and three-dimensional. The brass is full and rich, the percussion lively and present, and the bass is weighty and defined. All the stuff we look for on a Classic Weather Report album is here.
Note especially that the energy is excellent, and both sides are also very high-rez; the echo trails from all the studio reverb go on for days.
Better Than Heavy Weather?
This is our favorite Weather Report album here at Better Records. Heavy Weather is arguably a more ambitious and more accomplished piece of work. But Sweetnighter is so original and rhythmically compelling that we find ourselves enjoying it more. I don’t know of any other album on the planet like it. We only know of two Must-Own Weather Report albums, this one and Heavy Weather. They both belong in your collection if you’re a fan of jazz fusion.(more…)
It has been our experience that the copies with high frequency extension and the clarity, space and percussive energy that results from it are consistently the best sounding. You may have read elsewhere on the site that what separates many of the best Columbia LPs from their competition is an open, extended top end. For some reason Columbia, more than most labels, had a habit of making slightly dull records. Dull does not work for this album.
When the highs on the record are right, it all comes together. Unfortunately, most copies don’t have those highs. There’s more to it than that of course: some copies lack bass, some are a bit grainy and gritty sounding — the normal problems associated with vinyl records are all here.
But when you have good highs you are about 80 to 85% of the way toward a Hot Stamper. Complete the picture with bass, dynamics, etc. (and a big speaker system) and there’s a good chance the sound will blow your mind.
Our Track Commentary below has lots of What To Listen For (WTLF) advice to help you evaluate the copies you have on hand. (more…)