cool-cover

The Enigma Variations on Mercury Was Not to Our Liking (Although We Sure Love the Cover)

Neither the sound nor the performance of this 1959 Mercury (SR 90125) impressed us when we did a shootout for the work years ago.

The performance of the Enigma Variations here seems rushed, and the two other recordings of the work that we like, one on Philips, the other on RCA, are better.

The Philips with Haitink is probably the better of the time and our favorite at this time. Of the three recordings that we felt had the best combination of music and sound, the Merc with Barbarolli was our least favorite, so we decided to concentrate on the best two recordings in our shootout and get rid of the Mercury pressings we had on hand.

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This Tchaikovsky 4th with Argenta Didn’t Make the Grade

Hot Stamper Pressings of the Music of Tchaikovsky Available Now

The vintage London Blueback pressing of CS 6048 you see here was released in 1958.

(1958 just happens to be one of the best years for analog recording, as evidenced by this amazing group of albums, all recorded or released in that year.)

CS 6048 seemed to have a lot going for it so we thought we would get one in and give it a spin.

For starters, just take a look at that cover!

Roy Wallace was the engineer and many of his recordings are superb. (As of this posting there are fifteen available on our site.)

Recorded in Geneva’s world-renowned Victoria Hall with L’Orchestre De La Suisse Romande performing, many of of the best sounding records we’ve ever played boast these three elements.

Unfortunately, this London has a case of the “old record” sound we find on far too many vintage pressings, even those with credentials as promising as this one.

All the right people worked on it. How did it all go so wrong?

Who the hell knows?

The world is full of old records that just sound like old records. We’ve suffered through them by the tens of thousands in the 38 years we’ve been in the business of selling premium vinyl to audiophiles.

Our website, as well as this blog, are devoted to helping audiophiles find pressings that don’t sound anything like the millions of run-of-the-mill — and sometimes just awful, as was the case here — LPs that were stamped out over the last seven decades or so.

Even a million dollar stereo can’t make the average record sound good, and the more accurate and revealing the system, the more limited and lifeless the average record will show itself to be.

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Gorgeous Cover, Bad Sound

Hot Stamper Pressings of the Music of Felix Mendelssohn Available Now

UPDATE 2025

Our favorite recording of the work can be found here.


Awful sound. It’s bright, dry and flat, with strident strings.

The sound is much too unpleasant to be played on high quality modern equipment.

If your system is dull, dull, deadly dull, the way older systems tend to be, this record has the hyped-up, bright and aggressive sound that is sure to bring it to life in no time.

There are scores of commentaries on the site about the huge improvements in audio available to the discerning (and well-healed) audiophile. It’s the reason Hot Stampers can and do sound dramatically better than their Heavy Vinyl or audiophile counterparts: because your stereo is good enough to show you the difference.

With an Old School system, you will continue to be fooled by bad records, just as I and all my audio buds were fooled thirty and forty years ago. Audio has improved immensely in that time. If you’re still playing Heavy Vinyl and other audiophile pressings, there’s a world of sound you don’t know you’re missing.

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This Blueback of Le Cid Was Just Awful

Hot Stamper Classical and Orchestral Imports on Decca & London

Don’t buy into that record collector/audiophile canard that the originals are always the best sounding pressings.

This original Blueback pressing — true, we only had the one, so take it for what it’s worth — was a complete disaster: shrill, with no top or bottom to speak of, the very definition of boxy sound.

Our current favorite for sound and performance is the one Fremaux conducted for EMI in 1971.

It had been on the TAS List for some time, but we confess we didn’t bother finding out how good it was until about five years ago when it became clear to us what a wonderful conductor Louis Fremaux could be.

Here are some other Hot Stamper pressings of TAS list titles that we like.

Back to London

The sound of the London original you see above was much too unpleasant to be played on high quality modern equipment. There are quite a number of others that we’ve run into over the years with similar shortcomings.

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Gaite Parisienne – Great Cover, Bad Sound

More of the Music of Jacques Offenbach (1819-1880)

Great cover, awful sound. It’s blary and gritty.

The sound is much too unpleasant to be played on high quality modern equipment.

A stereo that looks like the console below — or one that sounds like an old console even though it has new components, there are plenty of those out there in audiophile land — is perfect for all your bad sounding Golden Age recordings.

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Love the Cover, But the Music Is Awful

Hot Stamper Pressings of Living Stereo Recordings Available Now

This Bob Thompson record never even made it to the hall of shame. Like hundreds of other albums we’ve played and found wanting, we could not be bothered to make a listing for it.

I don’t recall its specific shortcomings, but I vaguely remember that it basically just sounded too much like an old record. Some stereo systems of a more forgiving nature can mask the faults of records like these and even make them somewhat enjoyable.

Such is decidedly not the case with our system. Just the opposite in fact. Our stereo is designed to ruthlessly expose the shortcomings of every record we play, precisely the job we need it to do.

We are in the fault-finding business. A stereo such as ours allows us to recognize and describe the manifold problems of hundreds of records that others with — we assume — less revealing equipment do not seem bothered by.

We learned about the strengths and weaknesses of records the old fashioned way. We auditioned them by the thousands over the course of the 37 years we’ve been in business.

Unlike other record dealers catering to audiophile clientele, physically playing old records all day is how we make our money. In the case of this Bob Thompson Living Stereo from 1960, engineered by none other than the often-brilliant Al Schmitt, we were hoping to find top quality sound and music with acceptably broad appeal.

If we found those two things, we could then get hold of a bunch of copies — probably for cheap, let’s be honest — clean them up, shoot them out and sell the best sounding, quietest copies to our customers for prices that would more than cover the time and money it typically takes for our crack staff to carry out each of those operations.

It didn’t work out that way for On the Rocks. Most of the time it doesn’t with albums sporting cool covers from artists that we know practically nothing about. But we do it anyway. It’s how we discover records that few people know have the potential for audiophile sound quality. We know of no other way to do it, and we especially like knowing things that other people don’t know.

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