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A Deep, Deep Dive into LSC 2323 – A Massive Shootout Like No Other

Hot Stamper Pressings of Orchestral Spectaculars Available Now

Years ago, around 2005 if memory serves, I played a copy of the Classic Records remastered pressing of LSC 2323 and thought it was pretty good.

It seemed better than the Shaded Dog copies I had compared it to, which, based on the hundreds of other Classic Records titles I had auditioned up to then, was unexpected to say the least.

Unheard of is more like it. (That is no longer true — stay tuned for the story of the one Classic Records classical record that actually won a shootout not that long ago.)

Little did I know that the Shaded Dog pressings on this title are not remotely competitive with the right early reissues.

The best of the Shaded Dog pressings we could find, which just happened to have a 1s side one, came in tied for last with the one 70s Red Seal pressing we thought sounded good enough to make the shootout.


Some Inside Baseball

Most of the Shaded Dogs and Red Seals were needle-dropped, and all but two were eliminated before the shootout. It takes time and wastes money to clean and play pressings that sound hopeless, so a quick elimination round often precedes the cleaning process.


Back then it was tough to wrap my head around the idea that a Classic Record classical title could actually be better sounding than a Shaded Dog — it had never happened, so I knew there had to be more to the story.

Finding the time to do the serious investigation of LSC 2323 that would be necessary to get to the bottom of what was truly a conundrum was not in the cards, so I shelved the project for close to the next twenty years. (Oddities have their own section here by the way.)

The title would have to wait until 2025 to go through a proper shooout, and when it did, naturally the Classic was part of the mix, which is the way we do things here at Better Records.

Every record with any hope of sounding good is given the chance to show us what it can do. It deserves to be evaluated fairly, without the listener having any way to know which pressing is he is hearing.

It turns out that side one of the Classic was passable, but side two — the side I had never played — was every bit as bad as most of their other classical offerings.

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