This is one of the MoFi LPs we’ve reviewed on the site. This MoFi link will take you to reviews of more than 90 more.
We also have a Hall of Shame for bad sounding records such as these. It currently has 250 members but could easily have double that if someone wanted to take the time to make entries for all the bad audiophile pressings we’ve played over the years. (That person would have to be me and I don’t want to do it.)
Santana is a record we admit to having liked a bit when it first came out. Since then we have changed our minds. As embarrassing as it may be, clearly We Was Wrong.
It’s just too damn compressed and lifeless. The Whomp Factor on this pressing is Zero. Since whomp is critical to the sound of Santana’s music, it’s Game Over for us. The review below is exactly what we wrote at the time the record came in. We tried to like it, but it’s clear to us now that we tried to like it too hard. Please accept our apologies.
Rick sent us a letter recently after having played his first Hot Stamper, the first record he ever bought from us. At $300 it wasn’t cheap, but the best things in life never are, and certainly there is little in the world of audio that’s cheap and much good. This is not a cheap hobby if you want to do it right, and even tons of money doesn’t guarantee you will get good sound. It’s far more complicated than that. To quote Winston Churchill, it takes “blood, toil, tears and sweat.”
Churchill went on to say “You ask, what is our aim? I can answer in one word: Victory. Victory at all costs… Victory, however long and hard the road may be…”
Now, he wasn’t talking about audio, but he could have been, and I certainly am. It takes resources — money and labor — to get the sound you want. That is the victory I am aiming at.
Rick here no doubt heard the sound he was looking for on our Hot Stamper McCartney album, and then some, judging by his letter. (more…)
This is an older listing that illustrates how We Was Wrong when we thought the best domestic copies were not competitive with the A&M Half-Speed or better British pressings.
We touch on other much-loved themes in this commentary, such as the myth that the original pressing is going to be better than a reissue or later stamper. On this album that is definitely not the case.
TWO AMAZING SIDES, including an A+++ SIDE ONE! It’s not the A&M Half Speed, and it’s not a British pressing either. It’s domestic folks, your standard plain-as-day A&M pressing, and we’re as shocked as you are. Hearing this copy (as well as an amazing Brit; they can be every bit as good, in their own way of course) was a THRILL, a thrill that’s a step up in “thrillingness” over our previous favorite pressing, the Half Speed. (more…)
The last time I played the MoFi I could not believe how ridiculously COMPRESSED it was. On top of that, the midrange is badly sucked out (as is the case with most MoFi’s) making the sound as dead as dead can be. You think 180 gram records are lifeless? Play this piece of crap and see just how bad an audiophile record can sound.
And to think I used to like this version! I hope I had a better copy back in the ’80s than the one I played a few years ago. I’ll never know of course. If you have one in your collection give it a spin. See if it sounds as bad as we predict it will.
Frampton’s first solo album, Wind of Change, was recorded by the well-known engineer Chris Kimsey, who worked with the Stones and others too numerous to mention. To say that the sound of his albums varies considerably would be the understatement of the year. The first album (British only, FYI) is as rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).
I unashamedly confess to being a huge Frampton fan to this very day. Wind of Change has been a Desert Island Disc for me ever since I picked up my first copy while still in high school. I bought the first Frampton album as soon as it came out, probably based on a magazine review. Think I paid $3.08 for it; that was the discount price for an album at the little record store I frequented back in those days. It was in Leucadia, CA, not far from where I went to high school. (more…)
The darker brass instruments like tubas, trombones and french horns are superb here. Other Golden Age recordings of the work, as enjoyable as they may be in other respects, do not fully reproduce the weighty quality of the brass, probably because of compression, limiting, tube smear, or some combination of the three. The brass on this record has a power like no other. It’s also tonally correct. It’s not agressive. It’s not irritating. It’s just immediate and powerful the way the real thing is when you hear it live. That’s what really caught my ear when I first played Ansermet’s recording.
There is a blast of brass at the end of Catacombs that is so big and real, it makes you forget you’re listening to a recording. You hear every brass instrument, full size, full weight. I still remember the night I was playing that album, good and loud of course, when that part of the work played through. It was truly startling in its power. (Back then I had the Legacy Whisper speaker system, the one with eight 15″ woofers. They moved air like nobody’s business. If you want to reproduce the power of the trombone, the loudest instrument in the orchestra, they’re your man.) (more…)
We get letters from time to time chiding us for charging what strikes some as rather large amounts of money for records that admittedly do not have much in the way of Collector Value, the implication being that collectible records are of course worth the high prices they command in the marketplace. Hot Stampers, however, are somehow different. Clearly they cannot be worth the outrageously high prices we’re asking.
It is our opinion that the writers of these letters have made a rather glaringly erroneous assumption: That the records we sell are not subject to the same market forces as all other records..
This strikes us as just plain silly.
As anyone with a grounding in basic economics will tell you, we cannot force our customers to buy anything from us, especially old vinyl records, the kind of thing that most people have found they can easily do without, thank you very much. (more…)
Musically The Last Record Album is one of our favorite Little Feat releases, and the recording has many excellent qualities. Prime among them is amazing bass; the bass goes REALLY deep in places (Long Distance Love) and it’s punchy and rich throughout the albumThe problem has always been an overly smooth top end, combined with congestion, smear, and a serious lack of presence. The good news is that if you clean enough copies with the advanced cleaning techniques we’ve developed, and you make enough improvements to your stereo, room, etc., with the right copy you can actually get this album to sound clear AND rich.
This is one of those copies, both clear and rich. It’s one of the best we have ever heard.
Whose Fault Is It?
Most copies of this album are shockingly dull and compressed. On such copies the band itself sounds bored, as if they lack conviction in their own songs.
But it’s not their fault. Whose fault it is is never easy to fathom; bad mastering, bad tapes, bad vinyl, bad something else — whatever it is, that thick, lifeless sound turns this powerfully emotional music into a major snooze-fest. It’s positively criminal but it happens all the time. It’s the reason we have to go through a pile of copies to find one that sounds like this. (more…)
It is our strongly held belief that if your equipment (regardless of cost) or your critical listening skills do not allow you to hear the kinds of sonic differences among pressings we describe, then whether you are just getting started in audio or are a self-identified audio expert writing for the most prestigious magazines and websites, you still have a very long way to go in this hobby.
Purveyors of the old paradigms — original is better, money buys good sound — may eventually find their approach to records and equipment unsatisfactory (when it isn’t just plain wrong), but they will only do so if they start to rely more on empirical findings and less on convenient theories and received wisdom.
A reviewer we all know well is clearly stuck in the Old Paradigm, illustrated perfectly by this comment:
It’s not my pleasure to be so negative but since I have a clean UK original (signed for me by George Martin!) I’ll not be playing this one again. Yes, there are some panning mistakes and whatever else Martin “cleaned up” but really, sometimes it’s best to leave well-enough (and this album was well-enough!) alone.
We can’t imagine how anyone can have a system in this day and age that can obscure the flaws of the original Parlophone pressings of Rubber Soul (or any other Yellow and Black label Parlophone pressing for that matter). MF apparently does (as do some of our customers, truth be told), but we have something very different indeed. One might even consider it the opposite of such a system. Our system is designed to relentlessly and ruthlessly expose the flaws of every record we play. Only the best of the best can survive that level of scrutiny. This commentary addresses this issue in more depth. (more…)