"This is a journey into sound. A journey which along the way will bring to you new colour, new dimension, new value..."
What better way to introduce this new long term project than to quote Geoffrey Sumner's spoken words at the beginning of the classic 1958 Decca compilation A Journey Into Stereo Sound [SKL 4001]. Nearly six decades since the introduction of stereo sound onto vinyl, and seven since Columbia cut the first 33 1/3 rpm micro-groove LP for commercial release–the latter coincident in time with the advent of magnetic tape recording in the U.S.–, I felt it appropriate to create this Reference List for those about to 'jump on this train' for the very first time, and for those already aboard; perhaps eager to discover some new or old hidden gem to add to their precious collection. In that frame of mind, I am limiting the scope of the project to great recordings, going back to that early hifi period right up to the present, released on vinyl, either as LPs, EPs, or singles. This is a long term project that will take many years to complete. In order to keep things rolling, a capsule-type review instead of an in-depth evaluation will accompany each selection, along with the picture of the album or single, and the recommended label pressing and country of origin. When not specified, the U.S. pressing is always the default option. If a full review of a selection already exist, a link to the latter will be provided at the end of the capsule. There are no individual ratings but I will try to set the 'sonic bar' at no less than 8/10 and give priority to those surpassing 9/10 in my judgement. Contrary to a 'Rolling Stone-type' of list where albums are chosen on musical merit or relevance with no mention of sound quality whatsoever, and the extreme polar opposite–a 'purely audiophile-only' list–where sometimes sub-par music value is overlooked by extraordinary sound, I will endeavor to bridge the gap between these two solitudes. One last note: the order within the list is by and large arbitrary and only there to reflect where we are situated in the project's time frame; i.e. number 25 is not necessarily better or worse than number 50; it is impossible to assign a preference order when dealing with so many different music and production styles. Like any list out there, personal tastes will differ between individuals, so always keep in mind that these are my Top 500 favorites chosen from the 'roughly' ten thousand titles from my Vinyl Vault after 42 years of collecting records.
Buckle your seat and let the journey begin...
1- Santana – Abraxas. Columbia – KC 30130 (1970), MoFi – UD1S 2-001 Box (2016), (2x45 rpm) #0338. Genre: latin rock, latin jazz, fusion, psychedelic rock, heavy rock
I pondered the question numerous times: what would be my very first entry? Then I thought, why not launch the new year and Top 500 List with the recent reissue of Santana's second and probably best album by a label celebrating its 40 year anniversary in 2017. Always dedicated to delivering the best possible sound from past 'catalog classics', this limited edition LP box represents the first of a new unique series of records designated 'UD1S', wherein the 180 gram vinyl is pressed following a 'one-step' process instead of the industries' standard three-step: the stamper ("convert" is MoFi's term) is made from a part pulled from the lacquer; in effect, skipping the father and mother intermediates altogether; and by logical assumption, approaching with greater fidelity the original lacquer and by extension, the master tape. Being the oldest audiophile reissue label out there and I assume having one of, if not the largest, most diverse catalogue, they've experienced some hits and misses along the way through the years, but I can say with all certainty that this latest Santana hits a homerun, and occupies a league all of its own. It is outstanding in every sonic parameter: tons of detail, from the opening wind chimes and cymbals; followed by Carlos' electrifying lead guitar; percussive congas, tablas, and timbales; powerful drums, keyboards, heavy organ, and organic bass; super-wide, deep, and tall soundstage; dynamics; perfect tonal balance; non-fatiguing, airy sound; impressive immediacy and raw energy; need I say more? Credit must be given in part to recording engineers David Brown and John Fiore, who's wonderful work is now more apparent than ever with this remastering-cutting by Krieg Wunderlich assisted by Shawn R. Britton. It vastly surpasses the previous version in 2008–the single 33 1/3 rpm half-speed mastered by Britton [MFSL 1-305]–which at the time I found quite good, rating it around an 8.5 or so; but when juxtaposed in sequence, track by track, respectively, the standard MoFi takes quite a dive to the latest one, showing less presence; size; impact;...well everything; as if diluted; with even a hint of listener fatigue creeping in on some tracks. Needless to say, it blows away my old '360 Sound' Canadian pressing nearly to the 'dustbin'. Having being impressed by passed remasterings by SRB,–think Pixies' Surfer Rosa [MFSL 1-296]–thus putting aside any cutting engineer superiority of one over the other, and supposing MoFi used the same Santana master tape in 2008 as this time, we must come to the conclusion that the major improvement is due to the double-45 rpm format and/or the UD1S pressing. Based on their latest 45 rpm editions like I Robot and Miles Davis' for example, which were quite a leap from their regular 33 1/3 rpms, I would guesstimate roughly a 65% improvement ratio due to the higher speed and the remaining 35% for the 'one-step' method. The box-type packaging is super-deluxe in texture and looks; quite above their usual fare. Now if only all records were made like this, we would be in heaven. Definitely one of the best, if not the best rock recording and tape to disc transfer ever; such a shame it was already sold out for good within a month or so upon release.
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2- Nat King Cole – The Nat King Cole Story. Capitol – SWCL1613 (1961), Analogue Productions – AAPP 1613-45 (2010), (5x45 rpm), Compilation Box Set. Genre: traditional pop standards, easy listening, vocal jazz
Nat King Cole along with Frank Sinatra are my two favorite male singers of all time and I am not alone in that regard. Both are considered masters of their craft in their own way, their voice always delivered with perfect phrasing, timing, and emotional sincerity. Luckily Capitol Studios and the golden age of recording–from the mid-1950s to the early 1960s–served them well sonic wise. This is especially true here with Cole and the dedication by remastering engineers Steve Hoffman and Kevin Gray who instead of relying on the usual 2-track masters went one step further: back to the original 3-track analog session reels and with lots of TLC, remixed the blend of the central vocal track against the left and right orchestral tracks, using a lighter touch on the reverb knob compared to the excess of the period, and cut at 45 rpm no less. It pays off handsomely and all comes down to the most impressive vocal recording ever in areas of size, power, delivery, dynamic contrasts, transparency, clarity, and intimacy; sometimes startlingly so by Cole 'jumpin out' way past the front of the soundstage. Not to forget the sweet refined timbral qualities of the orchestra and its strings in particular, plus a spot-on analog warm tonal balance without overdoing it. The deluxe packaging is top notch and superior to the original with a canvas-bound embossed box, including an informative album-size booklet with b&w photos of 'King' in studio. Without doubt, so is the sound which makes this collection of sweet love songs and traditional pop, a no-brainer. Many other N.K. Cole LPs of the period were reissued and remastered by this same team of players and worthy of inclusion but if condemned to own only one, this is the one to get.
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3- Diamond Version – Diamond Version Boxset EP1. Mute 12DVMUTE1 (2012); EP2 Mute 12DVMUTE2 (2012); EP3 Mute 12DVMUTE3 (2013); EP4 Mute 12DVMUTE4 (2013); EP5 Mute 12DVMUTE5 (2013); 45 rpm each + LP CI STUMMDV1 33 1/3 rpm; Box Set Compilation. Genre: minimalist dark techno. Euro pressing
Growing up in East Germany, the Diamond duo composed of Olaf Bender and Carsten Nicolai distinguish themselves from many other electro groups and styles by their exploration into a whole other universe that relies on granular synthesis. Similar to music sampling, granular divides the sample into smaller pieces between 1 and 50 ms of duration only, making this particular production all the more special. This is without a doubt the most impressive recording, mastering, and lacquer-cutting I have heard, and even viewed vinyl wise, in this electro subgenre. This gives new meaning to Decca/London's original 'ear trademark' ffrr. These EP's really do reach deep down into the lowest registers and all the way up to the other end of the spectrum, with world class solidity and stunning staccato pounding and hammering. Trust me this will test the tenacity of your speakers and system; think German industrial military precision and you start to get the idea. It is mind boggling, listening and realising, just how much a simple 'stone riding a groove' can physically impart such sheer visceral force, drive, and intensity. Mastering/cutting engineer Andreas Lubich aka LUPO is not one to 'slap on' a low-cut filter just for the sake of extending the life of his cutter head; sonic compromise is not part of his vocabulary. At the time, I had bought these five EPs separately, but a year later London-based Mute records regrouped them–plus threw in a bonus in the form of an additional LP–in a nice matching box which makes this recommendation all the more enticing. The full evaluation can be viewed here:
http://soundevaluations.blogspot.ca/2016/12/diamond-version.html
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4- Gino Vannelli – Powerful People. A&M – SP-3630 (Can.) (1974), MoFi – MFSL 1-041 (JVC) (1980), 33 1/3 rpm. Genre: funky synth-pop, disco, jazzy soulful pop
This is the Italian-Canadian singer's second and best album, musically and sonically, and it's no wonder why Mobile Fidelity Sound Labs had chosen way back in their half-speed JVC-pressed virgin vinyl days, of showcasing their superior version to the regular A&M original. Although Gino and older brother Joe would keep 'the river flow' with hits streaming from 1976's The Gist of the Gemini; 1978's Brother to Brother [both on A&M]; and in a totally different style and colder compressed sound; 1984's Black Cars [Polydor]; Powerful People remains the only LP worthy of recommendation on this List at the present time. Vannelli's compositions with bro's sophisticated arrangements, showcase the singer's sensuous soaring vocals, supported by some powerfully tight musicianship, mixing majesty with energy, and providing a beautiful balance of smooth and faster tempi material with a few flirts of jazz overtones. As the discofied groove of "People Gotta Move" packs a punch upon first entry, the initial and lingering impression is one of stupendous speed, solidity, and soundstage size. Swirling synths and organs, spiced up with organic percussive instruments, electrify the room's air molecules, complementing each other on every track. With meticulous mixing and engineering by Larry Forkner and Tommy Vicari; this 'old' MoFi LP, cut by the late and great Stan Ricker, has it all in spades: full range even-balanced frequency, tight punchy drumkit, 'elastic' bouncy bass and most impressive of all, is the sense of a limitless dynamic ceiling with unbounded soundstage dimensions that defies any common logic.
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5- Sonny Rollins – Way Out West. Contemporary – C3530 (mono) (1957) – Stereo Records S7017 (1958), Analogue Productions – AJAZ 7530 (2003) (2x45 rpm). Genre: jazz, hard bop
Following the critical success of Saxophone Colossus for Prestige the year before, this 1957 recording sees the master tenor joined by Ray Brown on bass and Shelly Manne on drums, making it his first foray as a trio and for Contemporary Records. Started in 1951 by Lester Keonig, the small independant Los Angeles label was at the forefront of recording jazz stereophonically as far back as 1956, two years prior from stereo LPs entering the main market. This coincides with engineer Roy DuNann–formely of Capitol since a decade–bringing his skills to their new 'studio'; in reality, the corner of a tight backstore sharing space with the shipping room, surrounded by shelves of records. Armed with a handful of outstanding mics, AKG C12s and Neumann U47s–both high output, tube condenser types–fed directly into an Ampex 350-2 tape recorder with only hand-built 'pots' inserted for level-ajustment; this is Rollins' best sounding LP, especially in terms of warmth and sheer realism. By all accounts, this seems to be the very first jazz vinyl reissue by Acoustic Sounds' then newly-formed label, Analogue Productions. Initially remastered by Doug Sax with tube electronics and released as a single 33 1/3 rpm in 1992 [APJ-008], it sounded awesome and was already a great reissue at the time. Fast forward a full decade later when they decide to re-release it as a double 45 rpm, this time by the remastering duo par excellence–Steve Hoffman and Kevin Gray–to even more impressive heigths than before: with better double bass plucking and pitch precision; as well as superior top octave extension and intimacy on the cymbals; snare brush-stroke patterns; and percussive drumstick nuances. According to tech notes and photos, the instruments were captured close up and dry, leaving the mastering engineer the task of adding 'plate reverb' at the very end just prior to the cutting stage and which, in this instance, appears either left out or kept at a minimum–to my great delight I might add. Being extra critical, I would wish for a fraction of a dB more in the lower mids (around 400 to 600 Hz) to better unleash Rollins' power and 'bark' but that's it as far as nit-picking goes. From 1956 to 1963, DuNann and Contemporary never released a boring or bad sounding LP and believe me their 'batting average' was way high, placing them at the very top with Orrin Keepnews' Riverside label up to par or coming in a close second soundwise.
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6- Felipe De La Rosa – Flamenco Fever. M&K Realtime Records – RT-107 (1978), 33 1/3 rpm. Genre: traditional flamenco. Live direct to disc cutting. German pressing (yellow label).
It is somewhat rare when high end audio manufacturers decide to dip their toes into the art of recording and disc pressing–think Mark Levinson; Wilson Audio; Linn–oftentimes with lackluster results and excitement; what is rarer though, is when said company actually produces quite the opposite: a truly hot demo recording of reference calibre. Such is the case with this 1978 release from M&K Realtime Records–aka M&K Sound of (Jonas) Miller & (Ken) Kreisel subwoofer fame, who entered the D2D LP niche audiophile market back in 1976; pretty much during the heyday of that minimalist 'back to basics', ancient, and restricted practice of 'putting to wax' live music. If ever a record redefined the definition of PRAT and simultaneously presented a major challenge for every link in the recording and reproducing chain, all the while engagingly captivating its audience, this is the one absolutely. The rapid-fire percussion from the palmas of the hands in conjunction with the flat and tap of the feet from the flamenco dancer sharing the stage either with a spanish guitar or dynamic drumkit, are a feast for the ears, as must have been for the eyes of those present. Captured and cut with stunning slam and physical impact along with realistic, tight, tom drum timbres; this German pressing is a sure show stopper when properly reproduced. My only reservation regarding the recording is some slight saturation on the close-miked vocals during the singer's climactic fortes–perhaps 'overtaxing' the mic's diaphragm or preamp–and which may be system-dependent up to a certain point, in the context of groove trackability and acoustic dynamic compression.
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7- The Alan Parsons Project – I Robot. Arista – SPARTY 1012 (UK) (1977), MoFi – MFSL 2-455 (2016), (2x45 rpm). Genre: electronic, art rock, symphonic rock, prog rock, contemporary
After gaining great notoriety engineering one of the quintessential multitrack albums of its decade–the landmark Pink Floyd 1973 masterpiece, The Dark Side of the Moon–Parsons launched his progressive Project three years later with the ambitious Tales of Mystery and Imagination. Along with its subsequent LP–1978's Pyramid–I Robot probably represents the pinnacle of Parsons' essential 'tri-pack' worth owning, after which the compositions and 'creative juices' did not run so constantly, turning out uneven material musically speaking. Initially released in 1977, this album mixes many styles rarely heard together; including symphonic-aspiring rock with mesmerizing hypnotic electronica, evoking Germanic sequenced loops ala Tangerine Dream, Kraftwerk, and Moroder. At opposite ends of the spectrum are the hit single "I Wouldn't Want to Be Like You" with its disco-infused rhythm pattern, and the atonal cluster chords and choir found in Ligeti's Lux Aeterna which clearly permeates "Total Eclipse" throughout the track. There has certainly been no shortage of choice throughout the years when it comes to this particular Parsons' LP. Heck MoFi alone has released it on vinyl on three separate occasions: in 1982 as MFSL 1-084; then in UHQR form a year later as MFQR 1-084 and this newest version; not to forget neither an 'all tube' done by Bernie Grundman [Classic Records 7002-200G] in 2000. The latter was a warmer and more detailed improvement over my fairly good original UK pressing which showed signs of mild compression and top end curtailing in comparison. The latest Mofi has the theoretic advantage of being spread on 4 sides at 45 rpm and with all the care that Krieg Wunderlich and Rob LoVerde must have put into this, it bears fruit by beating the Classic to a good degree in all the usual audiophile aspects: soundstage dimensionality; dynamic range; deep sub solidity; distortion-free instrument separation; midrange transparency; top end airiness; analogue ease; and a sense of unbounded ceiling height. If pressed to roughly rate them in order: I would give an 8 for the original UK; a 9 for the Classic; and a 9.8 for the latest 45 rpm MoFi.
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8- Fleetwood Mac – Rumours. Warner Bros. Records – BSK 3010 (1977) – Reprise – Warner Bros. Records – 517787-1 (2011), (2x45 rpm). Genre: soft rock, pop rock
Formed by Peter Green, Mic Fleetwood, John McVie–all three, ex-John Mayall & the Bluesbreakers–, and Jeremy Spencer in 1967 and later joined by wife Christine (formely Perfect) McVie, they were originally a traditional British blues band. They say you gotta feel the blues in order to really sing the blues. The latter is often caused by great emotional turmoil and internal tensions ravaging relationships and that certainly was transpiring within the group by the mid-1970s–with the addition of Americans Lindsey Buckingham and Stevie Nicks in the mix–ironically shedding the blues influences of their early years for some softer rock and artistic pop. After gaining fame and greater acclaim in 1975 with the release of their second self-titled LP, featuring 3 major hits singles, the quintet finally reached superstardom status two years later with Rumours, one of the best selling albums of all time and luckily for us audiophiles, one of the best recorded pop rock albums also. Producers-engineers Ken Caillat and Richard Dashut assisted by Chris Morris spent the better part of 1976, recording and mixing the band at the Record Plant in Sausalito, California on a 3M 24-track tape deck and API mixing board with mostly AKG condenser and dynamic mics in a 30 feet by 20 feet 'dry-sounding' room–all the while making sure the blend of all the acoustic and electric instruments, plus the many vocal and harmony parts were equally shared and distributed within the entire frequency range, ensuring instrumentation clarity throughout the album. The last 4 months were spent at Wally Heider Studios in Los Angeles. Despite the–not uncommon for the times–drug-fuelled proliferation, hedonistic behavior, and countless hours of multitracking every instrumental solo lick, the end result was a sonic delight and when came time to re-release it 34 years later, Reprise did the right thing by hiring Kevin Gray and Steve Hoffman to handle the remastering and lacquer-cutting process, which they executed perfectly. The tonal balance is natural and more neutral than overtly warm, yet thankfully, not falling into the hyper-detailed analytic sound trap that a DMM cutting would have generated and ruined. The quiet Pallas pressing helps with the micro-dynamics and fine degree of spatial separation, string finesse, and midrange transparency. It surpasses my still excellent-sounding first-press UK copy [K 56344] by a certain degree, with a bit more bottom weight and overall refinement. All in all, one of the finest remastering jobs of the AcousTech duo right after their N.K.Cole Story box set.
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9- James Brown – Bodyheat. Polydor – PD-1-6093 (1976), 33 1/3 rpm. Genre: disco, funk, soul
The Godfather of Soul was very prolific throughout a lenghty career starting as far back as 1956–at times releasing up to 4 LPs per year; not forgetting roughly 100 singles entering the charts, 17 of which hitting number-one. Almost single-handedly inventing the funk genre in the mid-1960s and backed up by The J.B.'s during most of the 1970s, this is Brown's 47th album; his last truly inspiring before his creative style got totally eclipse by the sweeping wave of disco. First signed to King, then Smash, and later to Polydor–with sound quality varying from poor to excellent–this LP is the only one I would qualify as outstanding and not warranting any retouch. This is 'my go to' record when I want to demonstrate to someone what a 'groovy bass' recording sounds like; or test if a loudspeaker or complete sound system is capable and convincing of conveying the musicians' emotional rhythmic vibe. Back in the day, when "Bodyheat" would play, believe me 'you were in business' if you had a pair or two, of big JBL 4520 'double-scoops' delivering the punch and propelling the patrons onto the dancefloor into a frenzy of excitement and sheer sensuality. The opening riff by the saxes sets the stage with superb presence and warmth; the four-on-the-floor kick drum and accompanying electric bass seem to be 'modulated' by an expander, creating dynamic tension and movement within the locked organic groove; panoramic guitars are extra limpid; the ride cymbal beating the 8th notes, sports a natural metallic shine without ever veering analytical. In fact the overall tonal balance is just perfectly warm, sweet, and with an 'alnico-type' midrange all through the title-track and most of the album–mastered and cut at Frankford/Wayne in NYC. There are two main parts within the track and the abrupt back and forth switches between them, are swift and tight. So if sound is your main criteria, this is your best bet for Brown and first one to collect. As James states on the back cover: "Listen to this album. Not only will the spiritual feeling get to you, but the 'groove' will too."
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10- Various, The New Symphony Orchestra of London, Alexander Gibson – Witches' Brew. RCA Victor Red Seal – LSC-2225 (1958), Classic Records – LSC-2225, Living Stereo – LSC-2225 (1996), 33 1/3 rpm. Genre: classical modern
This is probably one of the 10 best classical orchestral sound recordings in my collection, and among Classic Records' finest reissues of the RCA LSC catalogue; and I might add, of their entire output, period. Whereas certain Bernie Grundman remastering-cuts sound sometimes hot, harsh, and dry, leading some audiophiles to seek out original Shaded Dogs for more smoothness on top and limpid warmth in the mids–though at some sacrifice in the bottom octave–, this one seems to not suffer the same fate or at least to a much lesser degree, and garners high praise for its huge dynamics, full range frequency extension, unbounded soundstage solidity, and unfettered force. Yes a small spoon of sweetness would be welcome as long as the fearless energy remained intact. No doubt the original December 1957 recording engineered by the great Kenneth Wilkinson at Kingsway Hall in England by UK Decca, using the famous 'Decca Tree' mic method, plays a tremendous part in its sonic glory, but one must also acknowledge the lacquer-cutting and stamper challenges this must have presented to get it just right. Both sides are equally impressive and make a worthy demo disc for hifi shows or 'showing off' between friends–just make sure your rig is up to the task or you may regret 'dropping the needle' on this one. The musical aspects–instrumental color, composition, drama, tension, performance–are particularly captivating on side B which opens with Saint-Saëns' colorful "Danse Macabre" but the whole album is a sonic thrill. My copy is the first Classic reissue that came out: the single 33 1/3 rpm 180 gram version but two rarer, pricier issues, consisting of 4 single-sided LPs cut at 45 rpm–at first standard black and later on their Clarity Quiex-SV-P II series–were available but I have not compared them with mine. All things being equal, the faster speed should be superior, especially in the top end and 3D spaciousness; on the other hand, the carbon-free clear vinyl is up for debate, and from my experience and point of vue, less attractive visually and sonically, based on other past comparisons between black, clear, and colored vinyl–the black carbon provided better body, intimacy and weight to my ears, perhaps at a slight expense of detail transparency. The 2014 Analogue Productions' reissue [A.Prod. LSC-2225], remastered+cut by Willem Makkee, and pressed at QRP on 200 gram, sounds diluted in comparison; it lacks low weight rumble, top end density and definition, horizontal spread, and musical drama. Therefore it is too far behind the Classic to be included in the List, earning a 7 at most versus a 9.5 for the BG Classic.
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11- Carole King – Tapestry. Ode Records – SP 77009 (1971), MoFi – MFSL 1-414 (2013), 33 1/3 rpm. Genre: pop, soft rock, acoustic folk, jazzy overtones
Throughout the 1960s Carole King and song-writing partner Gerry Goffin wrote a ton of hits for music publishers and pop singers in the famous Brill Building situated at 1619 Broadway in Manhattan NYC. Contrary to expectations, King's 1970 debut–Writer–did not garner much consideration at the time; rather her breakthrough came a year later with her second and most accomplished, personal record–Tapestry–entirely written or co-written by her, and produced by Ode and Dunhill label founder, Lou Adler. This is an incredible album both in terms of music and sound quality, comprising strong compositions, and selling well over 25 million copies worldwide since. The hit single "I Feel the Earth Move" opens the LP with its toe-tapping syncopated piano riff; ready to explode with great energy and excitement–spurring emotions we've all sensed at one time in our lives when falling for someone new. The counterpart to all that euphoria unfortunately is the 'breaking up' period and ironically that was exactly the message originally delivered on its flip side: "It's Too Late" with its much slower tempo and minor key sentiment conveyed the sorrow of 'splitting up' or scarier still, the sensation of detachment between two people once so connected, now so far apart. Superbly recorded by engineer Hank Cicalo in A&M's studio B, the original Ode70 pressing showed promise but lacked bottom and top frequencies with the mids 'pushing' a bit; Bernie Grundman's first remastering in 1999 [Classic Records SP 77009] improved somewhat on those shortcomings, making it my de facto choice up until I compared it with the newer MoFi version remastered and cut by Krieg Wunderlich which simply blows away the two aforementioned versions in all aspects: first off, a big sound veil is lifted; the kick drum is so much better, with the rare sought-after combination of a fast rise time and a long sustain, contributing to an incredibly articulated warm punch in tandem with plenty of plump bass-guitar grooving to the max; King's piano and vocals come out with great lively presence at just the perfect level; Curtis Amy's soprano sax and Danny Kootch's guitar oppositely-panned are warmly infectious complementing Carole's piano to a t. The dynamics, tonal balance, and horizontal spread are so impressive, one could easily be fooled in thinking this was a double-45 rpm instead of a regular 33 1/3 rpm; as such I believe it is either MoFi's best 33 1/3 rpm release or at least on par with Gino Vannelli's Powerful People [MFSL 1-041] from 1980. Most important is that Wunderlich really captured the vibe of the moment. On a comparative basis, I would rate the original Ode around 7; the Classic an 8 at the most; and this MoFi a 9.7 approximately–all numbers based on the A side; the B side falls a bit behind in the vocals and punch; the latter closer to a 9 overall. I have not heard the 2012 Grundman/Chris Bellman [ORG Music ORGM 1071] double-45rpm remastering–theoretically having a technical advantage–but cannot imagine how or where it could surpass this MoFi.
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12- USA-European Connection – USA-European Connection. Marlin – 2231, T.K. Records – PTK 92061 (Can.) (1979), 33 1/3 rpm. Genre: progressive eurodisco
Better known for his 1978 top charting Come into My Heart, this 1979 self-titled project produced by Russian-born, disco composer Boris Midney is in fact the second and last release under that banner. Both cited LPs are musically creative, progressive, engaging, and recommended but I would place this particular one ahead of the debut in terms of ultimate sound quality, as well as finer musical composition and arrangements. Classically trained at the Gnesin Music Institute and Moscow Conservatory, he moved on to work for ABC's Impulse label, arranging progressive Big Band jazz, and scores for tv shows at NBC, as well as composing for symphonic orchestra. Combining the latter with disco and electronic influences, he followed a similar musical path to eurodisco pioneers Giorgio Moroder, Cerrone, and Alec R. Costandinos, even though this heavily arranged and more complex subgenre of disco was in its last years and completely extinct by 1980–accelerated by the premature 'death' of disco. Mixing a string ensemble with bass, guitar, congas, and female vocals; all perfectly blended in his own Eras Recording Studio in NYC. I have not heard the original US pressing to compare but I can state unequivocally that this Canadian TK pressing is perfect in every sonic parameter; so much so that I cannot see where one could improve anywhere without losing the cohesiveness of this 48-track mix recording, supposedly using Telefunken equipment exclusively. In the pure tradition of eurodisco, both LP sides, feature two tracks that run uninterrupted, segue-style. Full range tonal balance is spot on, with minimal analog compression and a hint of multitrack warmth and sweetness from start to finish, along with widespread soundstaging. Midney and Dmitri Zbrizer's greatly engineered production, boasts 'zero listener-fatigue' and makes you turn up the volume unwittingly.
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Founded in NYC by Bill Grauer and producer Orrin Keepnews in 1953, right up until its demise in 1964, Riverside Records–along with Contemporary–was among a handful of independant jazz labels that represented the top plateau of the golden age of recording. Joined here by Barry Harris on piano; Ben Riley on drums; and jazz's most prolific recorded bassist, Ron Carter; tenor saxophonist Johnny Griffin delivers an exquisite and extremely intimate performance, perfectly captured by Riverside's recording engineer Ray Fowler. Though all four instruments are finely balanced and rendered in the mix, it is truly Griffin that stands out, with the others playing more of a supportive role; and by standing out I mean, not only in delivery but also literally from the speakers, with great presence, crispness, and bite. There are a couple of mid to uptempo tracks where the quartet exchanges more freely but the smoother soulful ballads really steal the show. The tenor–sometimes panned to the left, other times to the right–really shines with every last breath of air passing through its reed, neck, body, and bell, as well as the squeaky key shifts reinforcing the sound realism; while Griffin explores the lower registers of his instrument, almost sounding baritone in fullness. I would characterize the tonal balance as 'neutrally' near-perfect; though I would have welcomed a 'smidgen' of added warmth and a fraction of shelf lift at the very top, being extremely demanding. That said, this remains one of my all time references for saxophone veracity. The pairing of engineers Steve Hoffman and Kevin Gray on the cutting-lathe for this double-45 rpm reissue, elevates even more so the very high sound standard that Riverside held around that music period.
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14- Venetian Snares – Cubist Reggae. Planet Mu – ZIQ299 (EU) (2011) 33 1/3 rpm EP. Genre: dub, glitch, electronic, experimental, breakcore
If you are looking for something that sounds incredible but totally atypical of the traditional audiophile sphere, look no further: Venetian Snares is the creation of Canadian electro-experimentalist Aaron Funk, signed to the equally experimental English label Planet Mu. The EP comprises two tracks per side, each one exploring an excentric subgenre of musical mutation. In this case, it is the unorthodox meeting of dub with abstract asymmetrical electronic breakcore; in other words the organic world merges with the cerebral world, unleashing uncommon time signatures that would make Brubeck proud. Unlike many prior Funk compositions which pursued more 'purebred' breakcore at breakneck speeds, this 2011 release relies on slower underlying tempi alternating with abrupt speed shifts and ritenuto 'reverse breaks'–hopefully easing entry into what for many may be uncharted territory. The sound composition, mixing, and mastering is extended in both frequency extremes, being bold, brawny, and balanced with no portion particularly exaggerated, while textures remain fast, fierce, solid, startling, swirling, immersive, invasive and palpable. For a more in-depth evaluation, you can go to: http://soundevaluations.blogspot.ca/2014/03/venetian-snares-cubist-reggae.html
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15- The Brothers Johnson – "Strawberry Letter 23"/"Get the Funk Out Ma Face" (disco version on both). A&M Records – SP-12003 (1977), 12", 45 rpm, red clear vinyl. Genre: psychedelic soul, pfunk
The Brothers Johnson scored three hits worthy of inclusion on this List. This 12-inch single reunites two of them, both initially released separately in many different vinyl formats. Back in 1971, American singer-songwriter and multi-instrumentalist Shuggie Otis released his second album Freedom Flight [Epic E 30752] which contained his original composition "Strawberry Letter 23". Fast forward six years later when Quincy Jones teams up with the duo and produces their funkier interpretation, which became the version most people know, and perhaps never knew was in fact a cover. As such their biggest hit, recorded in 1977, appears here in it's full length form–thus the 'disco version' designation rather than a true 'discofied' alteration per say–on the A-side. In and of itself the musically soulful 'catchy' track might make the List–generally good sounding though a slight upward tilt approaching 'treble fatigue' in some parts–but it is really the B-side that steals the show sonically. Recorded the previous year, the ideosyncratic and highly syncopated "Get the Funk Out Ma Face" bears no strong resemblance to its smoother flip side; rather it features more of a harder pfunk feel, with super solid electric bass–reaching low and quite kick-articulated–limpid mids that you wish swimming into, and clean guitar, tambourine, and incisive harmonica sharing the higher frequency region. Lastly the soundstage is simply spectacular. Now that latter qualifier is not something I usually associate with this genre of music; even though there are many excellent sounding funk and soul recordings, 'spectacular' is a word I keep more for symphonic or 'grandiose-type' styles. But here it is well-merited, with what must be the widest, deepest soundfield ever for this musical form–akin to listening through a superb pair of headphones but with the scale and organic groove of 'dance-floor' speakers added to the mix.
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16- Miles Davis – Filles de Kilimanjaro. Columbia – CS 9750 (1969), MoFi – MFSL 2-438 (2015), (2x45 rpm). Genre: jazz, post bop, fusion
Recorded in June and September 1968 and released in February of the following year, Filles de Kilimanjaro featuring Miles' second great quintet, continues in the lineage of Miles in the Sky [MoFi MFSL 2-437] while exploring all the more so elements of funk, rock, and freeform within groove-based modal patterns, in a 'jam-live' feel with synergetic interplay between top-notch players. On this album we get a strong sense that he is paving the way for his 1970's landmark Bitches Brew [MoFi MFSL 2-439] and even beyond. It is obvious how this particular time period of Miles has left a profound influence on Swiss-born French trumpeter Erik Truffaz as well as saxophonist Ilhan Ersahin, both players persuing the adventurous path set forth by the maestro. Whereas many wonderful Blue Note recordings of the same era are easily recognizable by their musical stylings of the day, this album just as those preceding it, remains as fresh today as it was back then. Columbia recording engineers Arthur Kendy and Frank Laico did a fantastic job capturing most of the instruments: the drum panned right upfront is energetically present with hi-hat and snare rolls sounding very realistic; electric piano and/or Fender Rhodes counter on the left, playing a constant game of chasing each other; electric bass centered further back is larger than life, nearly invasive, and organically 'loose' but surprisingly still substantially solid; tenor sax tends towards a lean and biting veracity; ironically it is Miles' trumpet that comes out just short of impressive with a bit of mic saturation smearing on fortes, despite its good tone. The latter caveat aside, MoFi's 'wonder team' of Krieg Wunderlich and Shawn R. Britton did a colossal tape to disc remastering and cutting to 45rpm, supported by RTI delivering the most silent pressing I ever heard. I did not have a '360 Sound' original pressing to compare with but having heard many of that same era, often by the same engineers and producers–e.g. Dave Brubeck LP's–I have no doubt that this new double-45rpm comes out way way ahead. For a more in-depth evaluation, you can go to: http://soundevaluations.blogspot.ca/2016/10/miles-mofi-magic_7.html
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17- The Jimi Hendrix Experience – Axis: Bold as Love. Track Record – 613 003 (UK) (1967), Experience Hendrix – 88697 62396 1, Legacy (2010) 33 1/3 rpm. Genre: psychedelic rock, blues rock
London, late fall 1966: two powerful trios each launch their debut release nearly simultaneously, setting the stage–and bar–for a major rock transformation placing the 'guitar God' phenomenon in the forefront of innovation. Cream and more importantly The Jimi Hendrix Experience, comprising Hendrix on guitar and vocals, Noel Redding on bass, and Mitch Mitchell on drums–in a short span of barely four years, and cut abruptly by his premature death–would sow the seeds for fusing psychedelic, heavy, and even funk with rock. From a musical standpoint their first two albums are absolutely essential in any serious music collection, and many would strongly argue in favor of their third and final epic–Electric Ladyland released in October 1968. Though their 1967 debut Are You Experienced [Experience Hendrix 88697 62395 1, Legacy] is highly creative and musically superb, its slightly distant sound varies from fair to near excellent, whereas Axis: Bold as Love–the band's second LP released at the tail end of the year is outstanding all through, thus the favored choice for this List. Both LPs were recorded mainly by a young Eddie Kramer in London; with Axis done at Olympic Studios on Ampex 4-track half-inch using a combination of Neumann U67s and AKG C12s in a left-center-right pattern for drum overheads taken from the drummer's perspective, and a Beyer M160 for vocals. George Marino at Sterling Sound in New York handled the lacquer-cutting with Kramer supervising the remastering using the original 2-track master tape. I did not have an original UK pressing to compare with but did hear the Grundman mono cut [Experience Hendrix 612 003] (licensed to Classic Records) from 2000 prior to this 2010 stereo version, and preferred by a long shot this newer one finding it much richer, warmer, and wider–as to be expected from stereo vs mono versions. The mixdown is perfectly balanced spectrally with great solid drum and bass presence, in addition of classic tube warmth and low compression; confirming Kramer's true genius. Of course, some may prefer the mono for its rock-solid central image but I find the panoramic, and myriad phase, etc., effects more communicative of Hendrix's 'mind-expanding altered states' at the time. Given all the efforts that Kramer put into recording the drums in true stereo; bouncing the initial 4-tracks from one deck onto 2-tracks on a second deck for further multi-layering; and panning in 'real-time' guitar solos, vocal EFX, etc. makes a strong case for the stereo version. As a bonus, packaging–original gatefold artwork and LP-sized booklet–is rather premium considering the modest price.
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18- Depeche Mode – "Behind the Wheel" (remixed by Shep Pettibone). Mute – 12 Bong 15 (UK) (1987), 12", 45 rpm. Genre: electropop, synthpop, tech house
In another confluence of sorts: two of the leading proponents of the 1980s British alternative dance scene surfaced within a month of each other: both New Order and Depeche Mode produced their first single in early 1981, and share the distinction of releasing much better song versions on the 12-inch single format than the versions appearing on their LPs–i.e. in terms of superior remixes by renowned deejays and most important to us audiophiles, in substantially superior sound quality. For now I will focus on the latter formation which have at leasts five or six releases worthy of inclusion on this List and concentrate on their oldest contender for great sound–"Behind the Wheel" by dj-remixer-producer Shep Pettibone, who first 'cut his teeth' on disco's premier label par excellence, Salsoul Records. In the very beginning the band was more into a light upbeat new wave/sythpop style–as exemplified by the single "Just Can't Get Enough" [12 Mute 016]–but as the decade progressed, elements of industrial and harder textures slowly infiltrated the mixture to a certain degree. Then came the added touch by the remixers of the day, which further steered the style towards the oncoming tech house movement. French engineer and producer David Bascombe recorded the track at Studio Guillaume Tell in Paris and KonK Studios in London. Mastered at The Exchange and Musitech, and pressed by Damont–all three located in the UK–the tonal balance is perfect with tight driving electro kick drum; crisp 'crunchy' synths; and exciting panning effects on percussion and vocals. With a total time coming just under 6 minutes/side and cut at 45 rpm, the sound maintains its excellent 'raunchy' sound and throbbing pulse throughout the track.
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1 (UK) (1971), MoFi – MFSL 1-031 (JVC) (1980), 33 1/3 rpm. Genre: progressive, symphonic rock
There are only a handful of sonically oustanding live rock recordings available on vinyl–ELP's 1971 reinterpretation of Mussorgsky's famous work is one of them. Recorded in Newcastle city Hall in England, this is the trio's third LP following Tarkus [Island ILPS 9155 or MoFi MFSL 1-203]. Combining about half of the Russian composer's original ten 'tableaux' with the other half comprised of their own material, the British prog supergroup not only delivers a great entertaining performance but also astonishingly superb sound in any context, especially so for a live setting with minimal intrusion or distraction from its audience. Luckily for fans, most of their LPs are truly well recorded, mixed, and merit some space on this List. Engineer Eddy Offord, who co-produced a multitude of Yes' best albums, and engineered ELP's first four releases, once again did a fine intimate presentation. The original UK Island Pecko-Porky pressing cut by George Peckham is extremely dynamic with stupendous bass power reaching low and brawny, plus solid crunchy moog textures that you can "reach out and touch", and feel the electric charge such is the synth's sonic sizzle. Palmer's drumming really kicks butt. It is pressed by the British The Gramophone Co. Ltd. The MoFi comes in very close behind showing good tonal balance with a detailed top end, even slightly emphasized in absolute terms but in revenge it contributes to strong articulation of the often rapid, complex, and staccato rhythm patterns for which the band is renowned for. MoFi's first generation mastering team, pairing Gary Giorgi with the legendary Stan Ricker are credited for this early catalogue release, cut at half-speed, and pressed in Japan on thin 'virgin vinyl'.
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20- Johnny Bristol – "Love No Longer Has a Hold on Me". Handshake Records and Tapes – 4W8 02076 (1981), 12", 33 1/3 rpm, promo. Genre: soulful disco
Better known for his 1974 breakthrough hit "Hang On in There Baby"–a soulful disco track in the same vein as Barry White's Love Unlimited style–this 1981 promo 12-inch single, shares many of the earlier song's strengths but with so much superior sound in comparison, that the choice at least regarding this List, seems obvious. Bernie Grundman is credited for the mastering/cutting and I can confirm that he really hit the nail on this one, to the point of perfection and I dare add, devoid of any of the so-called 'signature sound' we sometimes associate with BG cuts. Very pleasing recording, mixdown, and tonal balance with just the right equilibrium of lows, mids, and highs. Great groove, punch, and weight in the former with smooth silky strings, and transparent harp in the latter; Bristol's vocals are clear and dynamic for this music style, gravitating a bit towards Lou Rawls' own forays into 1970s Philly Sound period. Other highlights include: superb articulated PRAT; wide and tall soundstage; and an interesting, unusual, electronified-percussive break that appears 'pasted' or edited-in this largely organic composition adorned with soaring sunny arrangements. Being a promo, both sides are absolutely identical, thus providing a 'safety copy' if ever one side gets damaged or loses luster with time.
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For the following ten entries, I chose to pit back-to-back, two selections sharing a common thread between them.
21- Buzz Brass, Mélanie Barney – The Planets. Fidelio Music Inc. – FALP028 (2012), (2x45 rpm). Genre: classical, modern
Finding great sounding organ recordings on vinyl has always been a challenge, especially so when one has the chance of attending live recitals of the mighty 'beast' of classical instruments and having the latter close by as a comparative reference. Most often, the case turns out as one of sonic disappointment depending on our own set of expectations. I won't pretend that the above selection is on equal footing as the real thing as that would surely cement my reputation as lacking any critical credibility; what I can convey is my deep admiration for getting closer to that lofty goal than any other organ recording transferred to disc than I have heard since. Organist Mélanie Barney combined her talent with Montreal's own Buzz Brass quintet, resulting in a magnificent interpretation of Holst's most famous work. From the opening bars of the military-esque "Mars the Bringer of War" you can feel the 'gravissima-sounding' pedal stops' rumbling through the air molecules, anchoring the beautiful Saint-Viateur d'Outremont church's room dimensions and foundation. Not only does it reach down real low but the dynamic scale is quite realistically portrayed along with some solid deep soundstaging. The brasses are captured with uncanny realistic timbres with just the right ratio of bite and legato 'color' and clarity. Fidelio founder and recording engineer René Laflamme's combined use of two pairs of high caliber condenser mics; triode tube preamps; DSD conversion; 2 track analog tape transfer; and Bernie Grundman's double-45 rpm lacquer cutting; created a winning recipe for sound quality, worthy of Mercury's Robert and Wilma C Fine(st) recordings, and Professor Johnson's Ref. Recordings–limited more by one's sound system than the actual record (mini-monitors need not apply). For a more in-depth evaluation, you can go to: http://soundevaluations.blogspot.ca/2014/03/buzz-brass-melanie-barney-organ-holst.html
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22- André Previn, London Symphony Orchestra – The Planets Suite. Angel 45 Sonic Series – SS4500 (1979), 45 rpm. Stereo, Quadrophonic Genre: classical, modern
Originally released in its full 'seven planets' version in 1974 [His Master's Voice ASD 3002] on regular 33 1/3 rpm, this stereo-quad compatible 45 rpm omits three planets for sonic/groove cutting purposes, zooming on Mars; Venus; Mercury; and Jupiter. At first glance you might think what is the big deal? After all we have many 45 rpms reissues on the market nowadays; but keep in mind that this came out way back in 1979 when the only market open to this format at the time was that of the discothèque–heck even Linn's LP12 came standard with only one speed–33 1/3 rpm; their thinking being no serious audiophile would dare listen to 7-inch 45's nor 12-inch 'maxi-45' disco singles! So whatever your opinion on the whole disco movement, at least you can thank the deejays for demanding this superior sound carrier, so we can now enjoy all our precious other music genres at their very best. Yes there were a few direct-to-disc 45 rpms recorded and pressed in Japan for RCA under the 'Direct Master Series', but the latter were not reissues of older LPs. German-American conductor André Previn leads the LSO in an energetic performance of one of my three favorite orchestral works of the modern classical period–the other two being Stravinsky's L'Oiseau de Feu and Le Sacre du printemps–all three written between 1910 and 1916, right at the dawn of WW1. The overall sound is consistent, and quite excellent if not as outstanding as the Fidelio version, mostly due to a slight lack of the lowest octaves which dimishes the 'power and majesty' of the performance. That aside, the brasses, tonality, and dynamics distinguish themselves from the competition making this version a viable alternative if one can accept less planetary diversity.
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23- Thelonious Monk – Brilliant Corners. Riverside – RLP 12-226 (mono) (1957), Analogue Productions – AJAZ 12-226 (mono) (2003) (2x45 rpm). Genre: jazz, bop, hard bop
Along with Parker, Gillespie, Christian, and Clarke, Monk certainly represented the fifth pillar at Minton's Playhouse when bebop took over from the big band era in the mid-1940s. This and the following entry are my two favorite Monk albums for music and sound; both of which share many similarities: identical label; year of original release; producer; recording engineer; remastering team and label; 'double-45rpm' format; and finally pressing plant. The main technical differentiator being one reissued in mono while the other was reissued in stereo–though each were originally released in both formats, recorded simultaneously supposedly with different mic setups. For this first selection, big names accompany the ivory genius: Sonny Rollins; Oscar Pettiford; Max Roach; Clark Terry; Paul Chambers; and a little less known, alto Ernie Henry; who like so many in the jazz world, would die from a heroin overdose about a year later at age 31, just on the cusp of attaining name recognition. The title track's intro has most of them playing in unison with typical 'Thelonious-esque' twists, tempo changes and dissonance. The horns stand out with a very big, bold, biting presence, leaping to front stage with edgy potent vibrancy; the entire track apparently taking twenty-five takes to get it up to the leader's satisfaction with many parts spliced together by producer Orrin Keepnews. Monk plays the celeste–a rarity for jazz–on "Pannonica"; a track in tribute to the 'bebop baroness' Kathleen (Rothschild) de Koeniswarter. Monk's piano is particularly well captured on "I Surrender, Dear" with solid hammer articulation and resonance. My only minor criticism regards the cymbals which are a bit distant, and lack some transparency, and harmonic extension. Riverside and Reeves Sound Studios' Jack Higgins, engineered the recording in NYC while Kevin Gray and Steve Hoffman at AcousTech handled the mastering+cutting, and RTI did the pressing. I have not heard an original pressing nor the stereo version so I cannot opine on any comparison, but this format theoretically gives it an edge over a single 33 1/3 rpm when well remastered.
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24- Thelonious Monk Septet – Monk's Music. Riverside – RLP 12-242 (mono) (1957) RLP 1102 (1958), Analogue Productions – AJAZ 1102 (2004) (2x45 rpm). Genre: jazz, bop, hard bop
A veritable who's who of jazz giants: Blakey, Hawkins, and Coltrane just to name a few key players from this septet. Musically and sonically it is up there with the previous selection if even more so, with its spectacular spread, sounding Kenton-esque at times. On that note I must point out, that strangely some of the instruments–e.g. the drum cymbals–get panned between L-C-R during the course of the track in a creative manner rather than true to life; thus you should view this more as a 'Dali painting' than an accurate photo. Monk surprises us with the opening track: "Abide with Me", which just under a minute or so, serves more as an intro to the second track, and is atypical in the sense that it is played strictly by the horns, not in jazz form but rather in a small fanfare–based on an 1847 hymn by Henry Francis Lyte and (by sheer coincidence for the last name) William Henry Monk–with great purity, to the point of perceiving the air traveling from the player's lips through the column, before exiting the bell. My original 'deep-groove' US Riverside pressing is quite excellent, especially regarding Coltrane's realistic tone, front, panned stage left; as is Monk's piano timbre stage right. Again we must recognize Higgins' great work. The Gray/Hoffman 45 rpm remastering pretty much equals the original on these aspects; offering up a slightly different texture, with cleaner, transparent timbres but with a slight loss of tenor tonal saturation, which some listeners may equate with less saturation while others may note a tiny loss of proximity and presence, depending on one's sound preference. If it was limited to that, I would consider it a 'toss-up'; but all the other instruments, especially the drumset–tom tom dynamics; rim-stick realism; cymbal extension; etc.–as well as the soundstage depth are greatly expanded on the 2004 A. Prod. reissue, making the latter the obvious choice over the still impressive original.
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25- Grateful Dead – Workingman's Dead. Warner Bros. Records – WS 1869 (1970), MoFi – MFSL 2-428 (2014), (2x45 rpm). Genre: folk rock, country rock, roots rock
By the end of the decade, what defined the bastion of 1960s counterculture came to a close. Leaving behind the very style that built their massive cult following, namely the experimental, psychedelic sound of acid rock; the Dead–like their close counterparts The Byrds–reincarnated from the burnt ashes of Woodstock into a workingman's rootsy country folk fusion, sometimes baptized Bakersfield sound. Along with its follow up American Beauty [Warner Bros. WS 1893 or MoFi MFSL 2-429], it reveals a different facet from this unique jam band. Gone are the lenghty 'spaced-out' polyrhythmic flourishes from the San Francisco Bay Area, now replaced by uncluttered harmonious voices and acoustic guitars aiming straight for the heartland. Taking a page from CSNY, and preparing the terrain for future 1970s icons The Doobie Brothers and the Eagles, Garcia and co. deliver the goods with utmost purity. The group vocals and strings are the best ever encountered on record: detailed; transparent; and so natural with great stage separation and image height; to the extent of holding your breath in order to 'catch' theirs. Even for 'small scale' music, the dynamics are delivered with aplomb and the tonal balance is devoid of any artificial color, like in real life. While I felt rather confident just lately that pretty much no 'normal release' could surpass or equal the latest advancement in sound–such as MoFi's UD1S one-step method–here comes this Dead remastering that astounds and confounds me in its sheer realism, which leads me to believe that the original 1970 recording done at Pacific High in San Francisco must have been superior still to Santana's Abraxas [MoFi UD1S 2-001] dating from the exact same year, so as to mitigate the theoretical advantages of the latter over the standard three-step pressing we have here. That it stands up to such a high level, reaffirms the incredible engineering work of the period as well as MoFi's own Krieg Wunderlich remastering and cutting it at 45 rpm. A solid 9.8 (almost 10 if it were not for the last side, which still fine, does not attain the perfection of the previous sides). I did not have an original pressing to compare with but doubt it could equal this latest version in realism. The Dead were recognize as sound perfectionist for their live shows and these early studio albums certainly live up to that reputation, and heaven forbid, if you must limit yourself to only one Dead album, this is it–sonically at least.
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26- Grateful Dead – American Beauty. Warner Bros. Records – WS 1893 (1970), MoFi – MFSL 2-429 (2014), (2x45 rpm). Genre: folk rock, country rock, roots rock
Persuing the styles and sounds worshipped on Workingman's Dead, and a strong precursor to the global amalgam labeled Americana, this album represents the apex of the Dead's delights blending bluegrass strings with Beach Boys-esque harmonies, and predates America's folksy debut album sharing the same label by a full year. My original US 'olive green' Pitman pressing still sounds utterly gorgeous; a testament to the musicians' mellifluous dexterity; Steve Barncard's impeccable sound aesthetics co-producing the recording done at Wally Heider studio; and the usual high standards that Warner Brothers held back then, regarding general sound and major artists repertoire–especially so during the 'green-tan' and 'Burbank' label period. Now if you ever got the chance of listening to the above original, you probably would not yearn for a reissue. Likewise if you only heard the MoFi double-45 reissue, you probably would feel quite content and not see a need of finding an original first press; in my book they are both equals, outstanding but yet different in strengths, and if combined would be perfect or on par with Workingman's Dead. In reality each isolated from the other, I would rate them both around 9.5 vs the 9.8 for the previous LP. The original digs deep, surprisingly quite low, with a 'cushiony' bass. The lower and central mids–vocals especially–exhibit an 'alnico magic' to them flowing effortlessly; the piano is transparently articulate and easy to follow in the sometimes dense mix; finally the highs are typical 'Warner' warm, sweet, and detailed–though not overly so. In counterpart the four-sided MoFi remastered by Krieg Wunderlich is less heavy in the lowest registers, slightly shifting the tonal balance more towards the upper mids, up to the top octave; thus favoring the speedy string picking delineations; the guitar pick sound striking the strings; the higher-pitch back vocals in relation with the lower main vocal; greater stage height; wider left-to-right separation; minor micro-dynamic superiority; and lastly–save for a few exceptions on 'side C'–a veil is lifted bringing a bit more airiness to the mix. All in all, it sounds subtly more modern or 'neutral' than a typical early 1970s pressing. Depending on mood and system-voicing I could go for either one, and as such am placing both versions in my collection on the same pedestal. Note that in its earliest years, MoFi originally released a single 33 1/3 rpm version back in 1979 [MFSL 1-014], half-speed cut by Stan Ricker which I have not compared with but suspect has its own particular flavor. If the previous Dead entry was my sonic favorite, this one here primarily for its mixture of melodies and harmonies, musically supersedes it.
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27- Spinners – Spinners. Atlantic – SD 7256 (1973), MoFi – MFSL 1-450 (2015), 33 1/3 rpm. Genre: Philly soul
If there is one group that exemplifies the migration from the motor city to the land of Philly it is the Spinners. First signed to Harvey Fuqua's Tri-Fi label at its inception in 1961, then ending up at Motown and its subsidiary V.I.P. once Berry Gordy acquired it two years later; it wasn't until Stevie Wonder(fully) penned their 1970 hit "It's a Shame"–which would turn out to be a soul single staple spinning in the discothèques of New York, Philly, and London–that the quintet finally found their way. Sensing the shifting soul scene towards Philadelphia, they switched ships to the shores of Atlantic in 1972, under the guidance of conductor, arranger, producer Thom Bell and the backing of the Philadelphia players soon to be known as MFSB. Although Gamble and Huff–the original instigators of this slick soul–do not appear in the credits, one could easily be fooled in thinking otherwise, such is the influence of the 'house' band and lush sound, wonderfully recorded by Joe Tarsia at Sigma Sound Studios. This is MoFi's sole Spinners' release and they made the right choice, it being the band's best album musically. Not only does it contain three of their biggest hits–"I'll Be Around"; "Could it Be I'm Falling in Love"; and "One of a Kind (Love Affair)"–the remaining songs are also quite good; now perhaps more apparent, given the proper care it always merited, and only received just recently. Indeed most of the time we expect a certain level of improvement when a serious reissue label takes pains to remaster a 'classic' LP that may not have experienced yet its full sound potential, but in this case that 'sonic step' is stupendous. I don't own an original MO (Monarch) pressing but I do have the 1973 US 'club edition' [Atlantic SD 7256, SW-95065] which admittedly could sound slightly different or even inferior to the MO. That being said I have heard many 1970s US Atlantic pressings and the majority are usually not that impressive, often light in the bass, 'middy' and more compressed than their contemporaries–there are of course exceptions. In my 'club' case, the sound reflects pretty much what I just described, nothing awful, yet nothing worthy of inclusion on this List; roughly a rating around 6.5. The MoFi remastered and cut by Krieg Wunderlich walks all over it; there is simply no contest, rivalling Carole King's Tapestry [MFSL 1-414] in sonic enhancement. By the latter, I don't want to suggest any artificial changes; on the contrary I mean to say it sounds closer to a well-balanced analog master tape: with mid-1970s warmth, weight, brass bite, sweet strings, clear vocals, and most impressive is Earl Young's floor tom backbeat, coming out so strong and solid; as well as his hi-hat, much more present, extended, and realistic. The mild listener-fatigue of the older pressing is completely vanished on the MoFi. A double-45 rpm would have been preferable, especially given the fact that the two best songs of the LP are confined at both side endings, close to the label–thus the least desirable place to be. Still, a 9.5 remains a reasonable rating. Lastly, the RTI pressing was impressively quiet and beautifully lustered.
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28- William DeVaughn – Be Thankful for What You Got. Roxbury Records – RLX 100 (1974), 33 1/3 rpm. Genre: Philly soul, smooth, down tempo
This is DeVaughn's debut and it would take six more years until he released his second and final album. Released on Roxbury–a sub-label of Chelsea–its smooth soul vibe, supported by many members of MFSB–including vibist Vince Montana–just like the previous selection, makes it also an attractive companion to the latter. Engineered and mixed by Carl Paroulo, Doug Fern, and Joe Tarsia at Veritible and Sigma Sound Studios, and mastered at Kendun Recorders; the seven minute title-track features near its half-way mark, a beautiful 'breakdown', and 'buildup' showcasing–slightly ahead for its time, and a precursor to the proto-disco formula–the multiple musical layers forming the foundation for this very soulful song. The warm tonal balance is pretty spot on; with good stereo separation; appropriate dynamics for the genre; and a frank floor tom backbeat, similar to the Spinners' above, and first popularized by MG's drummer Al Jackson Jr. on Al Green's 1971 southern soul classic "Let's Stay Together". In a perfect world, I would welcome a touch more low end weight to give it even more full range status but it is by no means anything approaching thin balanced or 'ascending'. The track "Blood Is Thicker than Water" follows the exact same recipe than the title-track, and as such makes it a perfect song for blending the two together in a club setting when owning a second copy–which was common practice for deejays back in the day. The opening track "Give the Little Man a Great Big Hand" is also enjoyable, and like many of the tracks, there are definite resemblances with Curtis Mayfield regarding vocals styles, and to a certain but lesser degree, also music-wise.
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29- Erik Truffaz – The Dawn. Blue Note – 493916 1 (France) (1998), 33 1/3 rpm. Genre: nu jazz, drum n bass rhythmic influences, sparse 'jazzy' hip hop vocals
Probably the closest heir to Miles Davis if ever there was one; Swiss-born, French trumpeter Truffaz's second release, combines innovative ventures in nu jazz playgrounds, underpinned by moderate drum n bass patterns precisely played by drummer Marc Erbetta, and bassist Marcello Giuliani–the latter on double and/or electro acoustic. Patrick Muller accompanies them on piano and Fender Rhodes, while rapper/narrator Nya brings his unique refined touch and timbre to the mix on five out of the seven tracks. All compositions are first rate with "Wet in Paris" representing the closest track in traditional jazz structure, while "Round-Trip" terminates the journey in a more exploratory avant-garde style than the rest of the tunes; with prepared piano, bowed bass, and introspective horn interacting over 'loop-styled' agitated percussive rhytmic patterns. Syncopation and synergistic interplay of great grooves with atmospheric ambience, intertwine in superb wide range crisp sound; bold tonal balance; tight kick; rapid-fire snare drum dynamics; solid articulate organic bass; and 'close-mic' intimate horn; borrowing from Davis' late 1960s to early 1970s output. The mini LP was recorded and perfectly mixed by Benoit Corboz at Studio du Flon in Lausanne, Switzerland; mastered by Alexis Latrobe aka Alex (Gopher) at Translab in Paris; and pressed in France by MPO (Moulages et Plastiques de l'Ouest); the latter is fairly good, just don't expect the 'silent black background' you normally get from a heavy RTI or Pallas pressing. My only minor criticism concerns the top end, which shows a slight lack of extension, level, and transparency in absolute terms, and in juxtaposition with the following LP.
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30- Erik Truffaz – Bending New Corners. Blue Note – 522123 1 (France) (1999), (2x33 1/3 rpm). Genre: nu jazz, drum n bass rhythmic influences, sparse 'jazzy' hip hop vocals
Bending New Corners essentially extends the previous release's style; bringing a bit more sophistication to the production; pretty much doubling the length of the album; and spreading it on two LPs instead of one. In other words if you liked The Dawn, you'll probably love this one even more, unless your preference veers a bit more towards 'rawness' than 'smoothness'. Think Bitches Brew but with tighter boundaries and finer focus. Indeed the preceding cast of players and personnel reprise their roles, maintaining, and perhaps even elevating the already high level of musicianship for which I had the pleasure of experiencing live outdoors for the first time at the Festival International de Jazz de Montréal–aka Mtl Jazz Fest–in the summer of 2000, and at a later date indoors at the old Club Soda that December. Again, kudos to Benoit Corboz at Studio du Flon in Lausanne, Switzerland, and Alex Gopher at Translab in Paris, France for the recording, mixing, and mastering respectively. Perfect extended tonal balance; displaying a bit more warmth, and less upper mid forwardness than the preceding LP; providing a slightly receding or further soundstage perspective in revenge. The latter sheds a few 'hairs' off the former's edge, supported by a slightly 'softer/cushiony' 'bass bed' foundation. Nya's poetic prose is featured on about a third of the tracks. Asked to choose between the two LPs is near-impossible; both are indispensable in my book and having heard some of his later releases, I can confirm that these two were is best sounding sessions.
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"Be sure to wear some flowers in your hair"...
31- The Beatles – Sgt. Pepper's Lonely Hearts Club Band. Parlophone – PCS 7027 (1967), MoFi – MFSL 1-100 (JVC) (1983), 33 1/3 rpm). Genre: rock, psychedelic, art rock, baroque pop, raga, avant-garde
It was fifty years ago today, Sgt. Pepper taught the band to play; fast forward five decades into the future, and the Lonely Hearts will probably still sound strong. A half-century has gone by since the masterful milestone album was released in late May/early June 1967, still steadfastly standing the test of time. Never one to rest on its laurels, Liverpool's–or safe to say, the world's–most famous quartet, kept creating and innovating with every album, reaching their pinnacle with 'Pepper', as producer–aka the fifth Beatle–George Martin refers to it in the many documentaries examining that particular period. Widely recognized as one of, if not the most important album in rock history. The latter term taken more in a general sense; in fact, of all the pre and post 'Pepper' albums, most of the songs do not adhere to the narrower definition of rhythm and blues-based, guitar-driven rock. Mixing elements of pop, psychedelia, baroque, circus, raga rock, music hall, and culminating with avant-garde; it's certainly the most musically diverse and ambitious work of the Fab Four, inspired more from European and Indian influences than African-American roots, and a far cry from their early Cavern and Merseybeat days. It included many studio advances such as inter-song crossfades, flanging, pitch shifting, and automatic double tracking. Geoff Emerick engineered the whole recording starting in late November 1966 up until April 1967 by bouncing tracks between two Studer J37 four-track recorders–a 'creative way' to compensate for the typical studio gear limitations of the day before the advent of true eight or higher multitrack machines–with impressive results, but some sound quality penalties nevertheless inherent in the procedure. I was lucky to find a reasonably affordable original stereo UK YEX 637-1 pressing in NM (-) condition. The sound is mostly well balanced, sporting splendid vocal presence, and a slight hint of broad midrange forwardness that helps create the illusion of inviting the Fab Four into your home. Transparent on top with just a hint of lacking bass heft in the bottom. The soundstage is well exploited in both depth, and L-R spread to convey the psychedelic mood, more so than the mono mix in my opinion–those favoring the latter, argue the team spent three weeks on it versus around three days on the stereo mix. My mint MoFi copy was the version sold separately, remastered and cut by Jack Hunt–who also did the ultra-expensive 1984 Nimbus "Supercut series"–and as such should not be confused with the version featured in the MFSL Beatles Box done by Stan Ricker–which it seems contains a 5dB boost around 10kHz on every LP within the boxset. Due to many contradictory information online, it is not clear if the UHQR version from 1982 [MFQR 1-100]–also by Ricker–suffers the same fate or is a different EQ/master/cut completely, with some audiophiles praising it while others less so; not owning a copy myself, I will not speculate further on its sound. Now back to this 1983 Hunt-cut MoFi: although there is a bit of grain in some instances with a small veil in the top reducing transparency, the general tonal balance is fine with a bit more bass weight, and a slight reduction in soundstage dimensions than the original Parlophone. From a musical standpoint, there was never any doubt about its inclusion, but the sonics are also good enough to enter this List; just do not expect it to be in the same league as current MoFi double 45's. Not surprising given the differences in speed format, and the level of refinement in remastering gear or that you get with a trio such as Krieg Wunderlich, Shawn R. Britton, and Rob LoVerde working hand in hand. I did not buy one of the relatively recent reissues–the stereo LP, cut from newly EQed, 24bit/44kHz digital files nor the later mono LP, cut from analog tapes, and both remastered at Abbey Road–after being disappointed with three mono titles I thought could be good alternatives for UK originals...turns out they were not!
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32- Jefferson Airplane – Surrealistic Pillow. RCA Victor – LSP-3766 (stereo) or LPM-3766 (1967), MoFi – MFSL 2-456 (2015), (2x45 rpm) mono. Genre: psychedelic, folk rock
If there is one album that is most associated with the psychelelic era, the San Francisco Sound, and the Summer of Love it is surely Surrealistic Pillow. Recorded during the autumn of 1966 and released in February of the following year, the Bay Area-based band's second LP introduced us to the first great female rock lead singer, Grace Slick–Tina Turner did precede her by a few years fronting Ike but bended more towards a rhythm and blues-soul style. They were of course in very good company: within that same tumultuous time period; Cream; The Doors; the Grateful Dead; The Jimi Hendrix Experience; and Pink Floyd would each release their debut albums; while The Beatles spiced things up with some Pepper into the mix; all the above marking their 50th anniversary this year. Their third LP, After Bathing at Baxter's, veered more experimental and is still worth exploring, but if you are limiting to fly only one Airplane, this is the one. Mixing psychedelia with folk rock had already been accomplished by The Byrds the year before with their pioneering composition "Eight Miles High", and subsequent LP Fifth Dimension in July. Here the folkish strings and harmonies borrowing from The Mamas & the Papas, spun two historical hit singles, both originally done by Slick while with her former band, The Great Society: "Somebody to Love" and "White Rabbit". The latter, a two and a half minute masterpiece inspired by Davis and Evans' Sketches of Spain, and structured along the lines of Ravel's "Bolero", as a snare-driven, crescendoed rhythmic loop, underpins the phrygian modes by the guitar and vocals. Produced by Rick Jarrard and engineered by David Hassinger at RCA Victor's Music Center of the World in Hollywood, CA. I did not have a US original to compare with but I do have a 1rst press stereo Canadian 'deep-groove' black label-white dog, and like many RCA's of that period, it never impressed, sounding thinny and compressed. The 1997 DCC stereo reissue [LPZ-2033] remastered and cut by Hoffman and Gray improved somewhat over the latter in lessening a bit the compression, and elevating the bass but never to the point of inclusion in this List. Enter the MoFi, remastered and cut in mono on double-45 rpm by Krieg Wunderlich and Rob LoVerde. Big, fat mono presentation with stupendous solidity and musical force. Grace Slick's vocals are clear and dryer, ridding the excess of reverb present probably only on the stereo master tape–a common studio or mastering practice for that period, harking back to the late 1950s to add 'fake stereo or depth effect' in order to better differentiate with the dryer mono version. Stunning dynamic contrasts; superb and surprising bass content for the times–not what you would expect from RCA nor typical rock sound pre-1969–frank electric guitar/amp sound; impressively transparent, delicate acoustic strings on some songs. If all mono reissues would attain this level of refinement, stereo would have had a harder time winning its case. Another stunner from the folks at MoFi!
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33- Procol Harum – "A Whiter Shade of Pale" (Alternate Version). Regal Zonophone, Classic Records (2003), 12", 33 1/3 rpm (A) / 45 rpm (B). Genre: baroque pop, blue-eyed soul, blues, psychedelic, art prog pop
Based on an adaptation of Bach's orchestral suite No.3 in D major aka "Air on the G string" by most, soulful vocals, and 'church-esque' organ–both evoking the spirit of Percy Sledge's "When a Man Loves a Woman"–"A Whiter Shade of Pale" remains Procol Harum's biggest hit, and another anthem of the Summer of Love. By now you are probably wondering why I included this record in the List, based on the memory of the version we all grew up with, which always sounded compressed, veiled, murky, and distant. Nothing could be further than the truth on this newer version mixed by John Leckie at Astoria, and mastered by Tim de Paravicini at The Exchange in London. The original mono mix, May 1967 single [Deram DM 126], was made with session drummer Bill Eyden; whereas this alternate version was done only a few days afterwards with their newly hired drummer Bobby Harrison in real stereo–and not the fake "Electronically Re-Processed" kind that was on the 'stereo' U.S. and Canadian pressings. Both sessions were produced by Denny Cordell, and recorded by Keith Grant at Olympic Studios, London, UK. The latter along with Leckie did an amazing job mixing the quintet's instruments and vocals while Paravicini–best-known for his highly regarded custom 'mod' recording gear–demonstrates his good taste with spot-on tonal balance, solid weighty bottom end lows, creamy, warm sound, and appropriate soundstage image placement–vocals, guitar, and drum in the center, bass center left, organ center right; i.e. not hard-panned. You can for the first time follow the bass in the mix, while the kick, snare and tom rolls are crisply defined with the ride cymbal more subdued yet precise instead of awash in dirt; and yes there is a delicate guitar mixing with the Hammond organ that seems totally obscure in the original single. Both sides are identical, with the 45 rpm naturally coming on top slightly in airiness, and articulation, but it is close. Sadly it is not much longer than the version we all know, ending also with a fade-out.
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34- Love – Forever Changes. Elektra – EKS 74013 (1967), MoFi – MFSL 2-402 (2016), (2x45 rpm). Genre: psychedelic, folk rock, baroque pop, progressive, art rock
Completing our '67 trip down memory lane, comes Los Angeles-based band Love. I already owned their self-titled debut, discovered in a second-hand shop a while back–stored in my collection right in front of another better known L.A. group–but it took MoFi to reissue their third release, Forever Changes, for me to rediscover, and fully appreciate them to the fullest. Not to diminish the Doors relevance, but this Love LP–which unfortunately failed commercially–is immensely rich on musical grounds alone, and incredibly great sounding to match. Like 'Pepper', it covers multiple musical directions popular for the period. Though on one hand it stays closer to folk, rock, and psychedelia, at the same time it provides a 'preview' of the proto-progressive pop that predated the full-fledge prog of the following decade. Quicksilver Messenger Service's first two albums from 1968 and 1969; Genesis' 1969 debut From Genesis to Revelation; as well as The Moody Blues' A Question of Balance and Every Good Boy Deserves Favour from 1970 and 1971 respectively; came to mind upon first absorbing the album's ambiance. Additional musicians featuring diverse strings and horns, join the core quintet. Bruce Botnick–better known for his work with the Doors–co-produced with lead singer Arthur Lee, and engineered the recording during the Summer of Love, while the LP came out only in November. Contrary to the Jefferson Airplane above, this is a stereo release, and it is quite hard-panned, such as the entire drumset completely confined to the left channel. Of course the latter effect is not realistic but makes a very solid clean image and tone, having no phase distortions to deal with as is often the case with 'stereo-spread' drums. All the other instruments share this same close-mic, direct dry sound, akin to great headphone precision. Engineers Krieg Wunderlich and Rob LoVerde did a fantastic, consistent, remastering/cutting job on this double-45 rpm.
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35- Benny Carter – Jazz Giant. Stereo Records Contemporary S7028 (1958), Analogue Productions – AJAZ 7555 (2005) (2x45 rpm). Genre: jazz, small combo swing, bop, jump blues
Recorded between June 1957 and April 1958, this was the first of only two albums that Benny Carter released for Contemporary–the jazz giant changed record labels many times throughout his roughly 50-year career. Here he is joined by a who's who of West Coast musicians: Shelly Manne; Leroy Vinnegar; Barney Kessel; André Previn; Ben Webster; Frank Rosolino; and Jimmy Rowles. Like Way Out West (selection #5), Jazz Giant was part of the earliest jazz vinyl reissue batch by Acoustic Sounds' then nascent label, Analogue Productions. Being another Roy DuNann engineering success–as everything the man touches seems to turn into sonic gold–we are rewarded with the typical triptych of warmth, precision, and proximity. The opening riff on track one–"Old Fashioned Love"–sets the stage with very intimate saxes breathing on your 'left shoulder' with a realism to die for. The alto sax soon leads the way, exchanging playfully with Webster's warm rich tenor, answering Carter's every call. Kessel's guitar and amp follows on the right speaker, and is probably the most realistic 'guit. tone' I ever heard on record; every note and pick-up resonance pairing perfectly with Vinnegar's articulate signature walking bass. Previn's piano displays excellent presence and range–way above average for the period–Rosolino's trombone has the requesite blat, and Manne's drums and cymbals, swing with swagger all the way. "I'm Coming Virginia" showcases Benny's bluesy side in a slow New Orleans style which highlights his elegant phrasing on the trumpet with superb timbre and clarity. Finally, his own composition "A Walkin' Thing" closes the first LP with a smooth 'spy-style' feel, featuring incredible sound. The album is universally excellent with only tracks 5 and 7 a notch under. First remastered by Doug Sax with tube electronics on a single 33 1/3 rpm around 1993 [APJ-013], it sounded quite good back then, but this double 45 rpm remastered and cut by Hoffman and Gray is a bit dryer, airier on top, and more intimate; and elevates it to another level altogether; confirming once more that the duo were at the top of their game back then. Very close to perfection if it were not for a minute lack of weight in the double-bass on a few tracks when compared to the typical DuNann Contemporary bass sound, but that's being extra-picky.
------------------------------------------------------------------------------------------------------------------ Recorded between June 1957 and April 1958, this was the first of only two albums that Benny Carter released for Contemporary–the jazz giant changed record labels many times throughout his roughly 50-year career. Here he is joined by a who's who of West Coast musicians: Shelly Manne; Leroy Vinnegar; Barney Kessel; André Previn; Ben Webster; Frank Rosolino; and Jimmy Rowles. Like Way Out West (selection #5), Jazz Giant was part of the earliest jazz vinyl reissue batch by Acoustic Sounds' then nascent label, Analogue Productions. Being another Roy DuNann engineering success–as everything the man touches seems to turn into sonic gold–we are rewarded with the typical triptych of warmth, precision, and proximity. The opening riff on track one–"Old Fashioned Love"–sets the stage with very intimate saxes breathing on your 'left shoulder' with a realism to die for. The alto sax soon leads the way, exchanging playfully with Webster's warm rich tenor, answering Carter's every call. Kessel's guitar and amp follows on the right speaker, and is probably the most realistic 'guit. tone' I ever heard on record; every note and pick-up resonance pairing perfectly with Vinnegar's articulate signature walking bass. Previn's piano displays excellent presence and range–way above average for the period–Rosolino's trombone has the requesite blat, and Manne's drums and cymbals, swing with swagger all the way. "I'm Coming Virginia" showcases Benny's bluesy side in a slow New Orleans style which highlights his elegant phrasing on the trumpet with superb timbre and clarity. Finally, his own composition "A Walkin' Thing" closes the first LP with a smooth 'spy-style' feel, featuring incredible sound. The album is universally excellent with only tracks 5 and 7 a notch under. First remastered by Doug Sax with tube electronics on a single 33 1/3 rpm around 1993 [APJ-013], it sounded quite good back then, but this double 45 rpm remastered and cut by Hoffman and Gray is a bit dryer, airier on top, and more intimate; and elevates it to another level altogether; confirming once more that the duo were at the top of their game back then. Very close to perfection if it were not for a minute lack of weight in the double-bass on a few tracks when compared to the typical DuNann Contemporary bass sound, but that's being extra-picky.
36- Sylvester – "Do you Wanna Funk". Megatone Records – MT 102 (1982), 12", 45 rpm. Genre: Hi-NRG
One of the interesting musical movements emerging in the early 1980s post disco period was the high pace style known as Hi-NRG; serving as a sort of ancestor to the 1990s techno and Eurodance scenes. A key player of this uptempo–130 to 140 BPM–synth-driven, disco derivative form was San Francisco-based singer Sylvester, who had three major club and chart hits: starting in August 1978 with the energetic 12-inch single "Dance (Disco Heat)" with "You Make Me Feel (Mighty Real)" [Fantasy D-102] cut on its flip side, and terminating exactly four years later in 1982 with "Do you Wanna Funk", produced by electronic maven Patrick Cowley–who would pass away just a few months later, being one of the early victims of the nascent AIDS epidemic; a prelude to the singer's own death in 1988 at age 41. Though that first hit single is musically worth having, its sound is merely good but far from outstanding; whereas this latter hit is truly excellent and way above the norm for that time period, which unfortunately was paving the way for higher and harder compression levels. By contrast, on this 12-inch release, the mix and tonal balance combined with Sterling's mastering are perfect; the mid and upper-bass (50 to 80Hz) region provides plenty of dynamic modulation while a mild upper-mid shelving, permits ample headroom for high SPLs either in club or home settings, free of any listener fatigue. Electro-percussive intro and middle break add spice to the mix. The B-side's instrumental version enables us to better appreciate the various synth melodies and polyphonic harmonies behind the main vocals. I often play this track to test systems for the elusive 'fun factor', and believe me most of these expensive 'audiophile' kits fail the test. Thus it should not surprise us as to why you rarely hear certain types of music at hifi shows, many preferring to stick with traditional jazz trios. Although there are more challenging recordings in other genres that display a system's dynamics or low end extension better, this kind of dance record can inform you on other 'non-audiophile' aspects, bringing you back to the core reasons that got you hooked to hifi in the first place.
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37- Tool – Undertow. Zoo Entertainment, BMG MUSIC – 72445-11052-1-RE (1993) (1997), (2x33 1/3 rpm). Genre: alternative progressive metal
Many rock metal bands of the 1990s–musically interesting or exciting as they might be–sadly suffered from the highly infectious 'loudness war' syndrome. Fortunately some escaped this horrific pandemic; such is the case with L.A.-based Tool. Originally released as a single LP in 1993 before being reissued on a double LP first in 1996 with printed inner sleeves, and repressed the following year without; the band's debut bore a breath of fresh air in what seemed a stale state at the time in the metal and grunge scene. In effect, as both subgenres passed their creative peaks and popularity, alternative-tinged bands like Rage Against the Machine, Shellac, Tool, and Korn, each brought forth their own take on diversifying the future of rock. What strikes the latter two is the 'drop D tuning' of their guitars, generating a deep full heavy sound in texture–while in the case of Korn, they even got guitar giants Ibanez to manufacture special 7-string versions designed by and for them. Back to Tool: co-producer and engineers Sylvia Massy along with Ron St. Germain did a fantastic job recording at Sound City Studios in Los Angeles and Grandmaster Recorders in Hollywood, and mixing the album at Ameraycan Studios with very low compression–and I suspect even a bit of dynamic expansion on some key drum sounds–creating cohesive top to bottom warm tonal balance, and fatigue-free sound from start to finish; an all-too-rare result especially for this musical subgenre and time period. Massy is one of the rare 'famous' female recording engineers in rock or metal, best known for mixing in analog on her vintage Neve 8038 with 'flying faders'. Judging by this LP's sound at least, perhaps we would have been better served with more women working the knobs. Of course all the above would be meaningless if the music was not au rendez-vous, which it is in spades. I have not heard their following albums but Undertow must not be underestimated.
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38- Daft Punk – Random Access Memories. Columbia Sony Music – 88883716861 (EU) (2013) (2x33 1/3 rpm). Genre: disco, funk, electro-disco, progressive, synth pop, west coast soft rock, experimental
When the French robot duo released this double-LP back in 2013, it stunned many in the music, studio, and audiophile world–myself included, giving it a rave review at the time. Revisiting it for this List has not diminish my initial enthusiasm one bit, still ranking it in the upper echelons of outstanding, artful-pop achievements of all time. Spread over four years, five studios, and costing over a million dollars, it was a very ambitious and successful album in terms of musical composition, arrangements, technical production, and final mastering; resulting in a wide-frequency range, 'late-1970s mildly compressed style' sound aesthetic–not discounting a rare mixture of genres including disco, funk, electro-disco, synth pop, progressive, west coast soft rock, experimental, and groovy hits to boot. Their sound production inspirations were the 'classic pillars' of the 1970s: Pink Floyd's The Dark Side of the Moon, Fleetwood Mac's Rumours, Steely Dan's Aja, and Michael Jackson's Off the Wall–without a doubt, all great choices. Five different engineers contributed to the combined analog and digital recordings in the States before Antoine Chabert at Translab in Paris, handled the lacquer mastering+cutting. With the exception of the LP's penultimate track, there is no 'second-class' material; all are musically rewarding. The apex for me (and many I suspect) being the third track "Giorgio by Moroder"–the maestro himself, whom I had the pleasure of meeting backstage at the end of a 'deejay-type' church concert he gave in Montreal in fall 2015. In addition, an impressive roster of 'big ticket' names and musicians contributed to the project including Nile Rodgers, and Pharrell Williams just to name a few. Sadly my wish that this musical monument might somehow spearhead a movement, reversing the pop industry's trend of trashing out loud compressed junk has not materialized, but one must never lose hope. For a more in-depth evaluation, you can go HERE: http://soundevaluations.blogspot.ca/2013/07/daft-punk-random-access-memories.html
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39- DJ Shadow – The Mountain Will Fall. Mass Appeal, Liquid Amber – MSAP0034LP (2016) (2x33 1/3 rpm). Genre: bass music, breaks, samples, instrumental hip hop
Beginning in the late 1980s experimenting on four-track recorders, and progressing as a deejay, Josh Davis aka Shadow honed his technical skills leading up to his 1996 debut album–Entroducing.....[Mo Wax FFRR 697 124 123-1]–densely created from vinyl samples from his collection using the famous Akai MPC60 sampler/sequencer. His fifth studio album–The Mountain Will Fall–still uses samples but to a lesser degree; concentrating more on building ambiences with great–gritty at times–texture. Depending on track, he may alter directions going from hip hop–some minor vocal rapping, but mostly instrumental beats–to breaks, to James Brown-styled funk to bass music; which in the latter is self-explanatory; i.e. music that explores the nether regions. So if you truly want to appreciate the incredible 'bottom reach' richness of this double-LP, you might wish for speakers a bit bigger than ProAc Tablettes; conversely, a typical separate subwoofer may not be the best solution neither; simply 'slowing' things down. Of course when the production digs this deep, it is as important to reach quite high in the other direction in order to maintain tonal equilibrium, and articulation, which it does in spades. Shadow arranged, produced and programmed the beats, scratches, and drums on the album; while Frank Tabino, and Bob Macc did a fantastic job, mastering the album with moderately appropriate compression so as to insure sharp attacks, and long sustains in the 'FFRR' sound envelope. Recordings were divided between three studios: Thrum in London; Circuit in San Francisco; and 80 Hertz in Manchester, while Rainbow in California handled the pressings. Not only is the sound solid, powerful, and immense; it is as impressive musically. Highly recommended to test system performance, and its limits.
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40- Offenbach, Boston Pops, Arthur Fiedler – Gaîté Parisienne. RCA Victor Red Seal – LSC-1817 (1958), Classic Records – LSC-1817, Living Stereo series, QUIEX SV-P 45 (2002?), (4 single-sided x 45 rpm). Genre: classical, orchestral
Similar to Mussorgsky's Tableaux d'une Exposition wherein the version most often heard is in fact Maurice Ravel's magnificent orchestral arrangement; Offenbach's original ballet score is best known for French conductor and composer Manuel Rosenthal's orchestration. Recorded June 1954 in Boston Symphony Hall by engineers Leslie Chase and John Crawford, and produced by John Pfeiffer, this was Arthur Fiedler's first stereo session–he had led the Pops in a previous RCA recording of the work back in 1947. It is also noteworthy, one of the earliest stereo magnetic recordings per say, the first occurring just prior in February–an incredible feat considering the RCA team treated these as experimental, not knowing if they would ever be heard by the public, whereas a second team led by Layton and Mohr were in charge of the standard mono LPs. These 'experimental' sessions were first released around 1956 on–expensive for the times–2-track 1/4-inch tape reels to advanced audiophiles (a situation not unlike today's market ironically), and later pressed onto vinyl, when stereo discs first appeared in 1958. Classic Records first reissued this golden age gem on a single 180g LP at 33 1/3 rpm in 1994 which immediately impressed me, and a few years later on 4 single-sided 45 rpm 200g slabs, that I treasure even more so. Not surprisingly the latter format surpassed the former edition, especially in explosive dynamics, blazing brass, fiery percussions, and perfect tonal balance. I do not have an original Living Stereo pressing to compare with, but I would be astonished that it could compete on the same level playing field, given the outstanding sonics of this Bernie Grundman cut–one of his top remastering jobs, on par with the Witches' Brew [LSC-2225] covered in selection #10. Nor do I have the Analogue Productions [AAPC 1817] 2014 reissue done by Ryan Smith at Sterling Sound, and pressed at QRP on a single 33 1/3 rpm. Here again, it is difficult to imagine in what manner the 'BG 45 cut' could be beaten.
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41- Frank Sinatra – Sinatra's Swingin' Session!!!. Capitol Records – SW 1491 (1961), MoFi – MFSL 1-407 (2012), 33 1/3 rpm. Genre: big band swing, vocal jazz, traditional pop standards
As previoulsly mentioned in the very first instalment of this series, Frank Sinatra along with Nat King Cole remain unchallenged in my book in their vocal stylistic spheres, with Bing Crosby, and Tony Bennett–both distinctively different–coming close behind. Now then, if I had to choose my favorite Franky LP–admittedly a near-impossible task–Come Dance with Me! [Capitol SW 1069] would lead the (rat)pack, but hot on the heels would be S'S'S!!!, while Nice 'n' Easy [Capitol SW 1417 (1960) or MFSL 1-086 (1982) or MFSL 1-317 (2009)] "does it every time" cooing the ballad side. Recorded in August and September 1960, and released in January 1961 when the 'Chairman' was as the top of his game, S'S'S!!! combines Nelson Riddle's swingin' arrangements, Sinatra's solid performance, and Capitol's supreme sound. This was Sinatra's last great LP for Capitol–Come Swing with Me!, and Point of No Return were rather rushed to honor his contract with them–as he had already founded his Reprise label in 1960 to gain better artistic control over his career. Unfortunately the latter did not produce superior releases, and in fact, the tendency veered rather downwards artistically, and sonically as the swinging sixties came crashing down the crooner's lane, as rapid as the rise of the British Invasion, the Motown Sound, and folk/rock took over the highways and airwaves. My original rainbow Scranton, PA pressing–like most of the late-1950s to early-1960s Capitol studio recordings–sounds truly excellent tonally, with good brass bite, wide soundstage size and separation, transparent mids and highs, and exhibiting a fair proportion of reverb on Franky's vocals, giving it a slight edge presence just at the very limit of sounding forward. Five decades later, MoFi's Krieg Wunderlich did a fine remastering and cutting, providing a warmer, softer presentation, with slightly drier vocals, and dimished attack or 'dynamic jump' on the latter. There is a tiny sound veil in the top end, reducing the ride cymbal's definition, soundstage width, and instrument 'crunch', and contrary to customary, contains a touch less weight in the lows. The 180g RTI sports a quieter pressing than my thinner NM original. Both are worthy of their place in this List; but the original owns a bit more information, and transparency, thus favoring it just barely over the MoFi for my tastes, and system but I can see where some may prefer the warmer presentation offered by the latter. In the end it's worth having both to alternate, depending on one's mood of the moment.
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42- Rush – 2112.
Mercury – SRM-1-1079 (Can.) (1976), 33 1/3 rpm. Genre: (heavy) prog rock, prog metal
Canada's premier prog rock power trio counts close to twenty studio albums spanning nearly forty years together, that tend to subdivide into four main timelines: the initial harder-heavy blues-based rock period (1974-1976); the powerful progish period (1976-1981); the synth-tech turning (1982-1989), and the final rock 'n' 'roll the dice' chapter (1991-2012). The latter two periods do not tickle my bones–partly due to the excessive misuse of compression, and basic musical (in)direction the group took–while on the other hand, I find the two premier periods highly impressive in composition, and superior-skilled performance. Unfortunately just two or three LPs out of the lot are worthy of sonic merit, and only one truly qualifies for my TOP 500–though Fly by Night [Mercury SRM-1-1023] released a year earlier does come close. After encountering very limited sales with their first three LPs, and urged to turn commercial, the label was planning of pulling the plug for good on the group. The 'make it or break it' album that saved the Toronto rock band from total annihilation was the sci-fi inspired 2112, marking a pivotal turn in the trio's fortunes, and future musical direction. Melding metal overtones over heavy blues-based hard rock, with conceptual progressive elements sewed in a seven-part, 20-minute monumental opus; "2112" represents Rush's breakthrough masterpiece, and most beloved anthem. It would serve as the bridge between the earlier Zeppelinesque output, and the renaissance-inspired concept album A Farewell to Kings [Anthem ANR-1-1010], while eventually culminating with their complex prog epic Hemispheres [Anthem ANR-1-1014 or SANR-1-1015] in Oct.1978. Recorded in February 1976 at Toronto Sound Studios on a 24-track Studer, and produced, engineered, and mixed by Terry Brown–the original Canadian Mercury pressing of 2112, mastered and cut by George Graves at J.A.M.F. (Just Another Mastering Facility) in Toronto, Ontario, is full range, with just the right balance of low end weight, punch, tom rolls, snare snap, driving distorted guitars, clean acoustic strings, slight warmth typical of that multitrack analog era, and appropriate dynamics for the genre. The only caveat being some mild sonic 'confusion' creeping towards the "Grand Finale", due to the song's length approaching the 20-minute recommended limit, and shrinking cutting radius. I did not have the Canadian pressing cut by Gilbert Kong at Masterdisk in New York to compare with but wonder where he could improved upon it. Apart from "A Passage to Bangkok" opening side B, the remainder of the LP is below par when judged against their best efforts but the entire first side steals the show, and suddenly all the world becomes a stage!
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43- Slayer – South of Heaven. Def Jam Recordings, Geffen Records – GHS 24203 (1988), 33 1/3 rpm. Genre: thrash speed metal
Along with Metallica, Slayer was, and by many standards still remains, the most important and respected metal act still active today. Both groups surfaced on the scene way back in 1983–with Anthrax trailing not too far away soon afterwards. Following the strength and success of their 1986 groundbreaking LP Reign in Blood [Def Jam GHS 24131]–considered by many as to be one of the most influential thrash metal albums of all time–Slayer steered the ship away from that extreme speed, agression, and brute force, towards a more melodic and explorative direction. Incredible as that landmark album was musically, like many metal productions of the era and sadly still today, it suffered from the Satanic sins and sickness of excessive sonic compression–If you suffer from ESC, please ask your doctor to see what help is available. The latter condition is alleviated to a certain extent in the 10 LP Box Set compilation The Vinyl Conflict [American Recordings 88697742481-S1] remastered and cut by Doug Sax at The Mastering Lab on 180 gram; giving genuine overall sonic improvement with some earache relief on all of the LPs, with the exception of South of Heaven which is not better nor worse, but strangely simply sounds slightly different. This may be explained by the fact that unlike the other initial poor-sounding releases, the original 1988 Def Jam 'floppy-thin' 120g pressing mastered and cut by Howie Weinberg at Masterdisk in New York, sounded quite awesome for the genre to begin with. Co-produced by Rick Rubin, recorded in L.A. and mixed at New Fresh in NYC by Andy Wallace–who's worked with some of the best bands since the mid-1980s, including Sepultura, Nirvana, White Zombie, Sonic Youth, and RATM, just to name a few–it epitomizes the band zeroing in towards its zenith with Seasons in the Abyss [Def American Recordings DEF 24307] cementing the troika two years later. S.o.H. came out smack in the middle of metal's most creative period–1986 to 1990–which bore such gems as Metallica's Master of Puppets followed by ...And Justice for All [Elektra 608 12-1]; as well as Voivod's 'progish' Nothingface [Mechanic MCA-6326]; all released right before the great grunge/Seattle industry takeover. The combination of Rubin, and Wallace, plus the original lineup of Araya on bass and lead vocals, Hanneman with King on guitars, and the incredible Lombardo on drums contributes to the winning recipe. The latter is quite punchy, and even groovy–considering this type of music–with double-kick dribbling, snappy snare shots, and tom rolls powerfully driving the ensemble to greatness. Guits are widely panned, and cut through the well balanced mix. If you limit yourself to only one thrash metal album in your collection, for equal sound/music measure, this is the one to own. For those sporting a bigger metal appetite, the aforementioned box set is a must but does not necessarily meet my Top 500 sound standards throughout.
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Named official 'musical ambassador' for Audio Note Music, Canadian cellist Vincent Bélanger is part of an all too rare breed: a genuine audiophile/musician; dedicated to bringing back the excitement of listening to live classical music via his vintage instrument, while going to great lengths to transpose that essence to record. Well known among the 'hifi circuit'–his many show-stoppers wherein he plays in synch with, or alternates between a recording and himself, remains one of his signature stratagems. Following his 2011 debut simply titled Là on the Fidelio label, he is back with Pure Cello–the first and only record release (as of writing) for the renowned UK high end company led by Peter Qvortrup. What started as a–$10k goal Indegogo–crowdfunding project to produce/record an entire album of solo cello, turned out to be an immensively impressive release. Captured entirely inside a chapel in Connecticut USA, renowned for its wonderful acoustics; it was produced, edited and mixed by Jacques Roy, and recorded digitally at 24-bit/192kHz by Stephan Ritch with assistance from David Cope. A combination of 2 Lauten Horizon mics + 2 DPA omnis for room ambiance, meticulously mixed by the entire team, and mastered by Guy Hébert. The LP lacquers were carefully cut by Philip Gosselin at Le Lab Mastering in Montreal Canada. The beautiful black silent pressings from Optimal in Germany provides us the luxury of following every arch movement, and frequent breathing cues. It is by far the best cello recording I have heard regarding sound, and Bélanger's passionate execution of this rarely recorded repertoire, makes it just as enjoyable from a musical standpoint–running the full gamut of emotive range, from mere melancholy to bold bowing bravura, with every (Audio) Note breathing in between. A must-have in any collection. For a more in-depth evaluation, you can go HERE: http://soundevaluations.blogspot.ca/2017/10/vincent-belanger-pure-cello.html
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Recorded live at the famous Vanguard in Greenwich Village, NYC on June 25, 1961, 'Village' along with its counterpart Waltz for Debbie–drawn from the same sessions–have long been considered quintessential live trio recordings. Captured by recording engineer Dave Jones, it showcases the impressive intuitive interplay between him, LaFaro, and drummer Paul Motion. This is the second limited edition 'UltraDisc One-Step' 45rpm box set released by Mobile Fidelity after the success of Santana's Abraxas. I do not have an original pressing to compare with, but I do own the 2002 Analogue Productions [AJAZ 9376] double 45rpm done by Kevin Gray and Steve Hoffman which is generally excellent, rating it around 8.7–the bass lacking some weight and precision compared for instance to another Evans release [AJAZ 9487] by the same technical team. MoFi's 'master cutter' Krieg Wunderlich pulled it off once more bringing a sound improvement almost as large, where I would rate it a 9.7 about–refrained only by Motion's nearly uninterrupted use of the brushes on the cymbals that produce a constant 'sandish sound' that I found a bit obtrusive in the long run. Of course that is part of the recording, and therefore is out of MoFi or anybody else's hands. That aside, the quality and quantity of the double-bass is astounding by any measure, and clobbers the A.Prod. in that specific area, with a triad of extreme solidity, pitch precision, and presence like I've rarely encountered before on record. This brings LaFaro so much more upfront 'in the mix'; his dexterity along the fingerboard/strings is mesmerizing, making him much easier to follow–the piano and drums also 'move closer' gaining great presence along with better contrasts due in large part to the 'extra-silent' RTI pressing made from MoFi's "converts". Going back to the A.Prod. is akin to being displaced 'ten rows further back'! For me, this latest MoFi UD1S is the 'real deal' and a tough act to follow. For a more in-depth evaluation, you can go HERE: http://soundevaluations.blogspot.ca/2017/07/bill-evans-trio-sunday-at-village.html
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46- Cerrone – Love in C minor. Alligator – J 1611 (UK) (1976), 33 1/3 rpm. Genre: Eurodisco
Back in the second part of the 1970s when diva Donna Summer–the quintessential Queen of Disco–dominated the dancefloor, drummer Jean-Marc Cerrone was crowned its King, more precisely presiding over the throne of 'erotic' Eurodisco. Descendant of Italian immigrants, the Frenchman first made waves on the shores of Club Med with his percussion-heavy Kongas group starting in 1972, at the very dawn of disco's afro-cuban roots. It was not until late-1976 that he self-produced his debut album, and masterpiece Love in C minor with the help of friend and arranger Don Ray, and Egyptian-born producer Alec R. Costandinos, who co-wrote the title-track along with the equally magnificient "Midnight Lady" closing this three-track LP. What makes this particular release so special–aside from the fact that it was my second LP to grace my then tiny burgeoning vinyl collection–was the significant symphonic contribution, not only in the title-track's reference to classical music per se: "in C minor"; but in the symbiosis of sweeping strings, brass, woodwinds, and percussive arrangements over a steady four-on-the-floor, front-mixed kick drum, spanning sixteen minutes' of side one. The compositional structure was quite unique for the genre, and its time: an 80-second spoken intro; a '32-beat' bass riff plus kick drum, with crescendoed strings; the long near-instrumental main theme intro; followed by the first chorus; the 'erotic' piano, drum, and brass break; the second chorus; the central developmentally layered, quasi-progressive instrumental riff; a short chorus reprise; the bridge; and finally a long faded-out coda reprising the main theme. Recorded at Trident Studios in London by engineer Peter "Fairly" Kelsey, and mastered by Ray Staff in September and October 1976, it remains the artist's best sounding release by far. Original, and daring as it were, Cerrone basically combined Isaac Hayes' mostly instrumental Theme from Shaft" [Enterprise ENS-2-5002] with Donna Summer's moaning on "Love to Love You Baby" [Durium Marche Estere D. 30-240] 'speeded-up' by 30 BPM or so. The sound on the UK, Italian, and French original pressings are incredibly good, non compressed, non-fatiguing, balanced from bottom to top, and well defined in the energetic 'kick region'. Having to choose, the 1976 UK Alligator is my preferred pressing, being a bit sweeter and liquid in the highs whereas the French [Malligator – 773 801] imparts just a touch to much emphasis on the top end, shifting our focus from the forceful 4/4 rhythmic punch. The Italian [Atlantic F 50334] is the opposite of the French, being a touch warmer and softer in the top end, and more relaxed, and very close second to the UK with just a hair less forceful in the kick. One thing for sure, stay away from the 1977 US pressing [Cotillion SD 9913] which not only sports a completely different 'censured' front cover, but more importantly lacks the entire spoken intro–starting directly on the beat–and is not cut from the original master tape, explaining no doubt the 'dulled' veiled treble, and inferior sound.
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47- Love and Kisses – Love and Kisses. Rei-Vera – LM 2737 (U.K.), Barclay – 90034 (Can.) (1977), 33 1/3 rpm. Genre: Eurodisco
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Recorded at Group IV Studios in Hollywood, California, in February 1983, this was the Count's third from last recording before his death the following year at age 79. Three of the eight swinging tracks fall more into the 'smaller band' banner, with the remainder manifestly pure big band Basie. Not surprisingly, Norman Granz's Pablo label does not disappoint, in fact Dennis Sands' engineering astonishes the aurel senses in all the usual audiophile attributes–true timbers; tonal balance; brass bite and blat; frequency bandwidth; and surely some of the best, and startling dynamics, and range ever put on wax. One could be forgiven for believing this was a 45 rpm or even a direct-to-disc lacquer cut, such are the sharp staccato 'kicks' from drummer Dennis Mackrel. Freddie Green's guitar plays with superb suave tone while Cleveland Eaton's bass has perfect presence, and is easy to follow all through the album. Needless to say, Basie's ivory box is typically well captured, and wideband. As for the music, there is no doubt we are swimming in some most familiar territory, but it swings, and in the end, that's what Counts...big time Basie!
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49- Count Basie and His Orchestra – "88 Basie Street". Pablo Records – 2310-901 (1984), Analogue Productions – AJAZ 2310-901 (2003) (2x45 rpm). Genre: jazz, big band swing
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50- Olympic Runners – Put the Music Where Your Mouth Is. London Records – PS 653 (1974), 33 1/3 rpm. Genre: funk
Through mere happenstance, this British funk formation started out as London session musicians for Olympic Studios–jamming together while waiting after a blues guitarist running late–and as was standard practice with engineer Barry Hammond, he had a 2-track 1/4 inch tape engaged in record mode the whole time, of which would form these basic tracks. This is their debut, and best LP produced by Mike Vernon, comprising mostly instrumental funk tracks–with the title-track famously sampled by Rob Base and DJ E-Z Rock on their 1988 hip hop hit single "Joy and Pain" [Profile PRO-7247]. Non of the ten tracks in any way approach musical masterpiece status, but all are enjoyable 'light' funk gems captured in superb sound. Very dynamic, clean, fast, and tight, it resembles more a direct-to-disc signature sound than a typical warmly layered, mid-1970s multitrack tape. Not to leave a false impression, the sound is not cool or clinical but simply subtly warm, rather than saturated. Strangely I have never seen an original UK pressing–if such copy exists–so my comments are based on my 1974 US London 'AL pressing', pressed by Plastic Products in Memphis, Tennessee.
Through mere happenstance, this British funk formation started out as London session musicians for Olympic Studios–jamming together while waiting after a blues guitarist running late–and as was standard practice with engineer Barry Hammond, he had a 2-track 1/4 inch tape engaged in record mode the whole time, of which would form these basic tracks. This is their debut, and best LP produced by Mike Vernon, comprising mostly instrumental funk tracks–with the title-track famously sampled by Rob Base and DJ E-Z Rock on their 1988 hip hop hit single "Joy and Pain" [Profile PRO-7247]. Non of the ten tracks in any way approach musical masterpiece status, but all are enjoyable 'light' funk gems captured in superb sound. Very dynamic, clean, fast, and tight, it resembles more a direct-to-disc signature sound than a typical warmly layered, mid-1970s multitrack tape. Not to leave a false impression, the sound is not cool or clinical but simply subtly warm, rather than saturated. Strangely I have never seen an original UK pressing–if such copy exists–so my comments are based on my 1974 US London 'AL pressing', pressed by Plastic Products in Memphis, Tennessee.
A final note:
To pursue this journey please go to: http://soundevaluations.blogspot.ca/2018/03/top-500-supersonic-list-50.html
