- The Hot Stamper return of this stunning rendition of The Nutcracker, with a Triple Plus (A+++) side three and nearly Triple Plus (A++ to A+++) sound on sides one and four – just shy of our Shootout Winner
- If you love the excitement Dorati brings to warhorses such as this, coupled with the equally exciting sound that Mercury achieved under Robert Fine, you will have a hard time finding a better combination of the two than this very record
- The sound is glorious – full, rich, spacious, big and transparent, with virtually no smear
- With this early pressing the power of the orchestra will come to life right in your very own listening room
- “The last of Tchaikovsky’s three great ballets, and was premiered in 1892, the year before his enigmatic death.
The best classical recordings of the ’50s and ’60s, compromised in every imaginable way, are sonically and musically head and shoulders above virtually anything that has come after them. The music lives and breathes on those old LPs. Playing them you find yourself in the Living Presence of the musicians. You become lost in their performance. Whatever the limitations of the medium they seem to fade quickly from consciousness. What remains is the rapture of the pure musical experience.
That’s what happens when a good record meets a good turntable.
We live for records like these. It’s the reason we all get up in the morning and come to work, to find and play good records. It’s what this site is all about — offering the audiophile music lover recordings that provide real musical satisfaction. It’s hard work — so hard nobody else seems to want to do it — but the payoff makes it all worthwhile. To us anyway. Hope you feel the same.
This work is difficult to find with anything but harsh sound. Such powerful and exciting orchestration must surely be problematic to capture on tape.
But Mercury managed to do it, a feat few others labels can claim.
This side one is truly DEMONSTRATION QUALITY, thanks to its superb low-distortion mastering. It’s yet another exciting Mercury recording. The quiet passages have unusually sweet sound.
This kind of sound is not easy to cut. This copy gets rid of the cutter head distortion and coloration and allows you to hear what the Mercury engineers accomplished.
The balanced tonality is key, especially when you have such lively brass and strings. The top is correct, even sweet, and you can’t say that about very many Mercs. Exceptionally tight bass too.
I don’t know of a better performance or a better recording of the work.
Dorati breathes fire into the famous Tchaikovsky Romeo and Juliet on side 2. Unfortunately, the sound is never as good in our experience as it is on side one.
Clear horns, a big hall — if it were a bit less bright it would probably have earned another plus.
DEMONSTRATION QUALITY. Famous TAS list LP! Superb sound. Mercury knows how to capture the bite of the brass. Fennell is a master of this sort of sweet and lyrical Wind Music.
Harry Pearson put this record on his TAS List of Super Discs.
The credit must go to Fennel along with the brilliant engineering team at Mercury. I’ve been told that he was a stickler for making sure everyone was perfectly in tune and playing correctly within the ensemble. That’s exactly what you hear when you play a record like this — it’s practically sonic perfection.
Fennell made a number of band music recordings for Mercury. My favorite is British Band Classics Vol. 2, which was the first Mercury recording I ever heard. I went out and bought a copy of it immediately from my local Tower Records on Golden Import.
Years later when I heard the real thing, and original pressing, I realized the Golden Import was a pretty second rate reissue, fine for the $4.99 I might have paid but a big step down from the early pressings.
Also, if you ever see a clean copy of Vol. 1, only available in Mono, pick it up. If it’s cut right it too is out of this world.
- This pressing has Beyond White Hot Stamper (A++++) sound on side one – sound that must be experienced to be believed! – backed with stunning Triple Plus (A+++) sound on the second side – exceptionally quiet vinyl too
- The finest Prokofiev No. 3 and Rachmaninoff Piano Concerto No. 1 – these performances by Janis are legendary, and with phenomenal sonics like these, this combination of sound and performance is all but unmatched in our experience
- So big, so, rich, so transparent, so dynamic and full of life, we guarantee you have never heard a better piano concerto record in your life
- Compare the weight of the piano on the two sides to see why the grades are so different
Please note: we award the Four Plus (A++++) grade so rarely that we don’t have a graphic for it in our system to use in the grading scale shown above. We rarely find records with this kind of sound, just a few times a year at most — this is the only one on the site at this time.
Side one shows up on the chart as A+++, but when you hear this copy you will know why we gave it that fourth plus!
This is an exceptionally quiet early Mercury Plum label stereo pressing of two of Byron Janis’s most famous performances (along with the Rachmaninoff 3rd, which is every bit as good). It’s a longtime member of the TAS Super Disc list.
The recording is explosively dynamic and on this copy, the sound was positively jumping out of the speakers. In addition, the brass and strings are full-bodied and rich, with practically no stridency, an unusual feat the Mercury engineers seem to have accomplished while in Russia.
Big, rich sound can sometimes present problems for piano recordings. You want to hear the percussive qualities of the instrument, but few copies pull off that trick without sounding thin. This one showed us a piano that was both clear and full-bodied.
With huge amounts of hall space, weight and energy, this is DEMO DISC QUALITY SOUND by any standard. Once the needle has dropped you will quickly forget about the sound and simply find yourself in the presence of some of the greatest musicians of their generation captured on some of the greatest analog recordings of all time. (more…)
First things first: one of the main bongo players is none other than Ray Barretto himself. You jazz guys out there will know exactly who that is, a man whose reputation for brilliant rhythmic contributions to some of the greatest classic jazz albums of the ’60s is beyond dispute. One listen to Midnight Blue will do the trick. The man had a gift. And he is here joined by two other top players.
And of course the guitarist has to be the incomparable Tony Mottola, the man behind one of our favorite jazz guitar records of all time: Warm, Wild and Wonderful.
Soundfield, Timbre and Dynamics
The spaciousness of the studio is reproduced with uncanny fidelity, with both huge depth and width, but there is another dimension that this record is operating in that Bang, Baa-room and Harp, just to take one example, does not — the instruments here are capable of jumping out of your speakers, seemingly right into your listening room.
The effect is astonishing. I have never heard these instruments sound more real than they do here. The timbre is perfection. The dynamics are startling.
Add to those clearly unattenuated dynamics, high and low frequencies that are also not attenuated, and microphones capable of deadly accuracy, and you have yourself a recording of virtually unparalleled fidelity. We’ve played these kinds of records by the score but I have rarely heard one that can do what this one is doing. (more…)