Practically any copy you find will have a bit of a boost in the bottom end. The kick drum really kicks on this album, more than it should in fact.
And almost all copies have too much top end right around 10k. The ones with the worst case of boosted highs and boosted bass sound like they were mastered by Stan Ricker and pressed in Japan, much like those put out by a famous label back in the ’70s.
Oddly enough, many audiophiles to this day do not seem to know that this particular label has been responsible for a slough of the phoniest sounding audiophile records ever pressed.
There is also a sibilance problem with the recording. Some copies keep it under control, while other, more crudely mastered and pressed ones, suffer greatly from spitty vocals, especially noticeable on Danny’s Song. The better copies will tend to have the “cleanest”, least-objectionable sibilance.
Sibilance is a bitch. The best pressings, with the most extension up top and the least amount of aggressive grit and grain mixed in with the music, played using the highest quality properly set up front ends, will keep sibilance to a minimum.
VTA, tracking weight, azimuth and anti-skate adjustments are critical to reducing the spit in your records.
We discuss the sibilance problems of MoFi records all the time. Have you ever read Word One about this problem elsewhere? Of course not.
Audiophiles and the hacks that write for them just seem to put up with these problems, or ignore them, or — even worse — simply fail to recognize them at all.
Play around with your table setup for a few hours and you will no doubt be able to reduce the severity of the sibilance on your favorite test and demo discs. All your other records will thank you for it too.