MASTER TAPE SOUND AND QUIET VINYL THROUGHOUT! Both sides are lively and transparent with super low distortion and lovely breathy vocals. The sound is Right On The Money all the way around — superb clarity, mind-blowing transparency and tons of dynamics. This copy is ALIVE! The drums and percussion are powerful and punchy with lots of room around them, and the bass is PERFECTION. There’s plenty of whomp and lots of extension on the top end. This side two really conveys a sense of the amazing performances of these great musicians. It’s rich, full, smooth, sweet, open, spacious — everything you’d expect from an A+++ / A+++ record.
Funky Brazilian Music For Audiophiles
This is one of my favorite albums, one which certainly belongs in any Audiophile’s collection. Better sound is hard to find — when you have the right pressing. Unfortunately those are pretty hard to come by. Most LPs are grainy, shrill, thin, veiled and full of compressor distortion in the louder parts: this is not a recipe for audiophile listening pleasure.(more…)
Presenting another entry in our extensive Listening in Depth series with advice on what to listen for as you critically evaluate your copy of Waiting For The Sun.
My favorite of the first three Doors album, this one is imbued with more mystery and lyricism than any previous effort. The album shows them maturing as a band, smoking large amounts of pot and preparing for the wild ride of their next opus, the ambitious Soft Parade. Actually, as I listen to this album it reminds me more and more of that one. Now that it sounds as good as The Soft Parade I find I’ve gained a new respect for Waiting for the Sun.
If anyone still thinks that this pressing is anything but a bad joke played on the audiophile public — so sucked out in the midrange, bass-shy and compressed to death — that person has a way to go in this hobby. A very long way. You can hear how bad it sounds from another room.
But wait a minute. I liked the MoFi just fine when it came out. I guess I had a way to go in this hobby too. That was back in the early ’80s. I like to think I’ve learned a thing or two in the last thirty five plus years. I’m pretty sure we can offer you a better record now.(more…)
A Gold Label original pressing blew out minds not long ago, after whichwe wrote “Need I even mention how much better this copy sounds than the 180g version from the Rhino Box Set, digitally remastered by Bernie Grundman? That thing is just awful, possibly the worst sounding pressing I have ever heard.”
The Gold CD Hoffman did for Audio Fidelity is very likely to be night and day better. So much for the concept of vinyl superiority. Not with Bernie at the helm anyway.(more…)
There is [was; it’s out of print now] a German 180 gram pressing of L.A. Woman which is [was] so bad, I am calling this commentary The Audiophile Apocalypse. The fact that some audiophiles and audiophile reviewers appear to like this pressing is a sign that, to me at least, The End Is Near, or May Be.
Dateline: January, 2005
[Note that some of this commentary from the dawn of time (2005 qualifies when it comes to Hot Stampers) falls under the heading of We Was Wrong, especially the part about there not being a good vinyl version of the album. We heard some killer pressings starting around 2011-2012 but boy are they few and far between.]
There is a new 180 gram German pressing of The Doors LA Woman album which is so bad, I am calling this commentary Audiophile Apocalypse. The fact that some audiophiles and audiophile reviewers appear to like this pressing to me is a sign that The End Is Near. There is no hope for audiophiles if they can’t tell a good record from a bad one, and this is clearly a bad one.
When I first played it I thought there must be something wrong with my stereo. There was no deep bass. (This recording has amazing deep bass.) The sound was upper midrangey and distorted. There was no extreme top at all. This surprised me, as I had heard that this was supposed to be a good record. What I heard coming off the copy that I was playing was pure garbage. I was confused.(more…)
PHENOMENAL sound for the Doors sophomore classic. You won’t believe how good this copy is — incredibly rich and full yet still clean, clear and dynamic with a big bottom end, driving rock and roll energy and huge amounts of space. Thanks Bruce Botnick, you are da man!
Honestly, we must return or reject 80% of the copies that come through the door, which should go a long way towards explaining why they hit the site with such irregularity. We know what the best stampers are and have for quite a while. What we have a devil of a time doing is finding anyone selling the album who knows how to grade it properly, especially when it comes to the kind of groove damage that’s common to records played on turntables that lack anti-skate adjustment. What good is a record with distortion on vocal peaks, not to mention inner grooves that are borderline unlistenable?(more…)
The music is of course wonderful, but what separates Sergio from practically all of his ’60s contemporaries is the AMAZING SOUND of his recordings. Like their debut, this one was engineered by the team of Bruce Botnick and Larry Levine. Botnick is of course the man behind the superb recordings of The Doors, Love and others too numerous to mention.
Levine is no slouch either, having engineered one of the best sounding albums on the planet, Sergio Mendes’ Stillness.
Just play the group’s amazing versions of Watch What Happens, Night and Day, or Jobim’s Wave to hear the Mendes Magic that makes us swoon. For audiophiles it just doesn’t get any better. (Well, almost. Stillness is still the Ultimate, on the level of a Dark Side of the Moon or Tea for the Tillerman, but Equinox is right up there with it.)(more…)
ENERGY and RAW POWER. Few audiophiles have any idea how well recorded this album is, simply because most pressings don’t do a very good job of encoding the life of the master tape onto the vinyl of the day, regardless of whether that day is in 1967 or 2017.
The first Doors album is without a doubt the punchiest, liveliest, most powerful recording in the entire Doors catalog.
Huh? I’m guessing this statement does not comport well with your own experience of the album, and there’s a good reason for that: not many copies of the album provide strong evidence for any of the above qualities. Most pressings are opaque, flat, thin, veiled, compressed, lifeless and sound exactly the way so many old rock records sound: like an old rock record.(more…)
We got hold of a minty original pressing of the first Love album back around 2007, so in preparation for the commentary I pulled one of the Sundazed pressings off the shelf, (Forever Changes, the only one we ever bothered to sell), cracked it open and threw it on the turntable.
Gag, what a piece of crap. When I had auditioned them all those years ago (2002) it was — I’m not kidding — the best of the bunch.(more…)