For selections #1 to 50, please click here:
http://soundevaluations.blogspot.com/2017/01/top-500-supersonic-list.html
For selections #51 to 100, please click here:
http://soundevaluations.blogspot.com/2018/03/top-500-supersonic-list-50.html
For selections #101 to 150, please click here: http://soundevaluations.blogspot.com/2019/08/top-500-supersonic-list-100.html
For selections #151 to 200, please click here:
http://soundevaluations.blogspot.com/2020/09/top-500-supersonic-list-150.html
201- Elvis Costello with Burt Bacharach – Painted From Memory. Mercury – 314 538 002-2 (1998), CD HDCD only, MoFi – MFSL 1-475 (2017), 33 1/3 rpm. Genre: sophisticated jazzy pop, baroque pop, easy listening.
Burt Bacharach is the backbone behind some of the biggest hits from the 1960s including Dionne Warwick's most memorable songs, and among audiophiles in particular, the soundtrack to the original 1967 Bond parody and spy spoof Casino Royale [Classic Records Colgems COSO-5005], featuring Dusty Springfield singing "The Look of Love". Partnering with lyricist Hal David, the dynamic duo delivered chart-toppers for the likes of Tom Jones, Herb Alpert, B.J. Thomas, and The Carpenters. Having studied under Darius Milhaud and digging bebop early on, he later combined elements of these plus other genres in a unique style now recognized worlwide as the "Bacharach Sound". Despite a few exceptions, his streak of success seemed to dry up through the 1970s and 1980s. The following decade brought a bit of a turnaround when in 1996 he teamed up with long-time Bacharach fan Elvis Costello to co-write the Grace of My Heart track "God Give Me Strength" spearheading the album Painted From Memory two years later. The title may suggest bringing back memories of Bacharach's songwriting style of the 1960s when he was at his peak creativity. Indeed as soon as the lead track "In the Darkest Place" commences, we are catapulted back through a time portal with Costello instead of Dionne in the lead. Everything and I do mean everything is incredible both musically and sonically. The compositions and arrangements, Johnny Mandel's rich orchestration, and Costello's performance rank to the highest standards. I never heard the original CD or HDCD, and Mobile Fidelity seems to be the only ones to have released it on vinyl. From the 1/2" / 30 IPS analog master converted to DSD 256 to analog console, Krieg Wunderlich, assisted by Rob LoVerde remastered and cut it, and pressed it at RTI. My version is on the regular vinyl and not the later "super vinyl". The first seconds say it all, this is the most natural-sounding vocals I have ever heard on my system. Interestingly, I've listened to several Costello recordings through the years, with many released by MoFi. And though they usually come out excellently, this one is from another planet–Elvis is in the building! Despite DSD, there is zero trace of "digital sound", it sounds warm and fleshed out. Tonal balance, dynamics, and soundstage are spot on from start to finish. Piano, drums, bass, guitar, keyboards, brass, and strings ... all instruments and sounds were meticulously recorded and mixed at Ocean Way Studio, Hollywood–with the last song at Right Track Studio, New York–by engineer Kevin Killen. Kudos! Defying all reason, even with an average 26 minute/side of music, the sound remains uncongested and full range 'til the end! This is one of the most impressive 33 1/3 rpm MoFi remasterings ever. Presented in an elegant gatefold with a mix of B&W studio photos and color superimposed with credits.
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202- James Gang – James Gang Rides Again. ABC Records – ABCS-711 (1970), MoFi – MFSL 1-477 (2017), 33 1/3 rpm. Genre: hard rock, heavy rock, psychedelic, folk rock, funk rock, heavy metal, swamp rock.
This gang of five American outlaws debuted decently strong in 1969 with Yer' Album [Bluesway BLS 6034] but the reformed bandit trio really rode back to town with their second and strongest album featuring Joe Walsh–who would later join The Eagles in 1975–on guitars, keyboards and vocals, Dale Peters on bass and acoustic guitar, and Jim Fox on drums and percussion. Recorded in November 1969 and released in July 1970, Rides Again comprises their biggest hit, the funky rock riff "Funk #49"–a reference to "Funk #48" which appeared on their debut. Kenny Loggins stole the main riff for his 1984 hit "Footloose" and associated movie-soundtrack; ironically the song was nominated for an Academy Award for "Best Original Song" the year after. In fact, almost every track on this album either heavily influenced other artists years later or was influenced by a recent group. Case in point the beat on "Asshtonpark" seems to have inspired the intro to the Bee Gees' 1975 disco hit "Jive Talking". "Woman" musically resembles The Stones' "Honky Tonk Women" though sung more by Robert Plant than Mick Jagger. "The Bomber (medley)" borrows heavily from Led Zep's "Whole Lotta Love" and "Good Times Bad Times" as well as influencing perhaps Black Sabbath's War Pigs just a few months later. "Tend My Garden"'s guitar and handclap riff definitely had a lasting influence on Boston's 1976 debut hit "More Than a Feeling" in the same manner, and seems to borrow a page from CSNY's back vocals. The intro to "Ashes in the Rain" echoes Simon & Garfunkel's 1965 hit "The Sound of Silence" but we hear also some resemblances with Led Zep's 1971' "Stairway to Heaven", and The Alan Parsons Project's string arrangements from 1976' Tales of Mystery and Imagination. Bill Szymczyk produced and engineered the album with engineers Llyllianne Duma, Mike Stone, and Stan Agol at Record Plant, NYC. I didn't have the original pressing mastered at Artisan Sound Recorders in Southern California but did have a Canadian first press [ABC Records S-711] which is fairly good but shows a bit of grain and compression in the upper mids and lower treble. The MoFi remastered and cut by Krieg Wunderlich, assisted by Rob LoVerde, reduces the latter and has more weight in the bottom end with a cleaner top end, wider soundstage, and better dynamics. Side A still retains a bit of dryness in the guitars that seems embedded in the original recording and a modicum of missing bass articulation fattening the sound commensurate with early-1970s recording practices, but side B steals the show and is truly impressive in all aspects with greater transparency, tonal balance, and superb string sounds. Musically it is more diverse and explorative in compositions and arrangements. Presented in a nice sturdy gatefold.
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203- Various – The Sound of Jazz. Columbia – CS 8040 (1958) 33 1/3 rpm, Analogue Productions – AAPJ 111-45 (2020), (2x45 rpm), 180g. Genre: New Orleans jazz, Chicago-style jazz, Kansas City jazz, Kansas City blues, blues, big band, swing, cool jazz.
The sensational Sound of Jazz LP is a must have for anyone who loves traditional jazz, blues, and outstanding sound. In 1957, CBS television carried a series entitled The Seven Lively Arts covering various facets on the subject, and aired on December 8, an innovative "live from Studio 58" episode dedicated to the jazz art form, shining a spotlight on some of its biggest names: Red Allen, Pee Wee Russell, Coleman Hawkins, Billie Holiday, Ben Webster, Lester Young, Jimmy Giuffre, Count Basie, Freddie Green, Roy Eldridge, Jimmy Rushing, and Jim Hall just to highlight the cream of the crop of musicians and singers from the assembled all-star cast. The eight tracks featured on the original Columbia LP were in fact recorded four days prior to the live broadcast, and as such the album is not a true "soundtrack" of the telecast. That said, minus some minor change in personnel, the performances remain quite similar. There is no filler material, each song represents a small gem in jazz history, honesty, and simplicity. It was produced by Irving Townsend who would strike gold a year later with Miles Davis' iconic Kind of Blue recording. Billie Holiday's bluesy rendering of "Fine and Mellow" is especially poignant on both the record and the telecast with the B&W camera capturing the moment, and knowing now that she and "Pres"–aka tenor Lester Young–would both tragically die two years later, both in their mid to late-40s, just four months apart. The original recording engineer is not credited, though given the Columbia 30th Street Studio location, one could speculate that Frank Laico or Fred Plaut are plausible choices. I have the original US "six-eye" stereo pressing which is already an excellent sounding record and impressive for its era, but this Analogue Productions' remastering by Ryan K. Smith now spread on four sides at 45 rpm, and pressed at QRP is something else. Every sonic parameter is superior: wider and deeper soundstage, better bass weight and definition, greater dynamics, crisper brass timbres, more even tonal balance with improved top end extension, precision, and finesse. Truly demo-worthy! Comes in a non-laminated gatefold with great B&W photos of the artists on the inside.
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204- The Oscar Peterson Trio – We Get Requests. Verve Records – V6-8606 (1965), UMe – B0033797-01, Acoustic Sound Series (2022), 33 1/3 rpm. Genre: jazz, bop, swing.
Born in Montreal, Québec, Peterson is famous for his incredible exuberance tickling the ivories. He shows the rapid-fire response of an Art Tatum and the swing of a Teddy Wilson. As opposed to Bill Evans' sparse and sometime cerebral playing, Peterson seems to be the piano king of density. Verve Records' founder Norman Granz hired him in 1949 to be part of his "Jazz at the Philharmonic" series. On this 1964 session, he is accompanied by Ray Brown on bass, and Ed Thigpen on drums. Apart from one original closing the album, the nine other tracks were for the most part, then-current popular songs, reinterpreted by this terrific trio. Director of engineering Luis Pastor aka Val Valentin and recording engineer Bob Simpson–well known for his fantastic work at RCA–accomplished an amazing job. The hard-panned recording places the drums up front on the left, Brown's bass counters close up on the right, and naturally puts Peterson in the middle further back the soundstage. I don't have an original pressing, but having heard other original Verve pressings, am confident in saying this newly-remastered version by Ryan K. Smith is sonically leaps beyond what any Verve OG might sound like, and is so impressive, natural-sounding, and transparent that I could easily have been fooled that this was cut at 45 rpm ... but it is a 33 1/3 rpm! The brush work on the snares and cymbals is so utterly real, quick, and airy, it is as if there is no top octave limit in the recording, remastering, and cutting chain. The bass is very agile and precise–but never sterile–you can follow every nuance of dexterity, and string tension through his nimble fingers. Despite the non-stop speedy nature of Peterson's playing, the piano is well rendered, but is more leaning towards the center and treble than the lower register, so don't expect a weighty piano sound like you may find from Basie on Granz's own Pablo label. I did not hear Analogue Productions' double-45 rpm [AP-8606] done by George Marino which I presume would be very competitive given the higher speed format and his usually impressive work. Definitely, one of RKS' top remasterings! Superb presentation in a laminated gatefold with photos inside of Peterson in color on the left and the trio in B&W on the right.
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205- Buckingham Nicks – Buckingham Nicks. Polydor – PD 5058 (1973), 33 1/3 rpm. Genre: acoustic rock, pop rock, folk rock.
The pairing of Lindsey Buckingham and Stevie Nicks traces it roots back to San Francisco when both were in high school circa 1966. Two years later, the duo within a band named Fritz were performing covers, opening for the likes of Janis, Jefferson, and Jimi. By 1972, now romantically involved, they headed to Los Angeles to try to land a record contract, eventually signing with Polydor. Producer and engineer Keith Olsen recorded them with additional studio musicians on drums, bass, guitar, keyboards, synth, and percussion at Sound City Studios in L.A., California. Lacking adequate promotion by the label, the album did not get the recognition nor strong sales it deserved at the time. Fortunately their fortunes turned around when Mick Fleetwood heard one of their songs at Sound City, and invited them to join Fleetwood Mac, and the rest is history as they say. Listening to Buckingham Nicks, it is plain to see or rather hear how much the young American duo brought to the former British blues band, transforming its style completely. Take an acoustic song like the Buckingham-penned "Never Going Back Again" from Rumours [Reprise Records 517787-1], and several songs from Buckingham Nicks could have easily served as a template. The ten tracks on the LP are interesting, varying between pop and folk-oriented rock with a strong emphasis on acoustic string interplay, and harmony-driven vocals. The tonal balance definitely leans towards the warm, fat side in the bass, slightly laid-back in the upper mids, with finely sharp crisp guitar strumming in the highs and impressive string sound. The only small drawback is the full bass lacks some articulation to better differentiate the rhythm, and on some systems may sound a bit bloated. Apparently Nicks was against the idea of the risqué cover art.
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206- Bionic Boogie – "Chains"/"Cream (Always Rises to the Top)". Polydor – PRO 066 (1978), 12", 33 1/3 rpm, promo. Genre: disco.
Bionic Boogie was the brainchild of American disco producer, musician, and songwriter Gregg Diamond, who rose to prominence in early-1976 with "More, More, More" [Buddah Records DISCO 102]. Sung by ex-porn actress Andrea True Connection, and backed by Diamond's original piano riffs, the track became a major hit single during that spring. After contributing to her first two albums, towards the end of 1977, he released Bionic's debut LP featuring the hits "Dance Little Dreamer" and "Risky Changes" [Polydor PRO 036]. This was followed a year later with a second album, Hot Butterfly, featuring three hit singles–the title track, "Chains", and "Cream (Always Rises to the Top)". The white label 12-inch promo submitted here has the "spectacular disco re-mix by Gregg Diamond" version of "Chains", while side B holds the LP version of "Cream"–and not the "spectacular disco re-mix by Jim Burgess" version as printed on the label. Engineered and mixed by brother Godfrey Diamond, lacquer cut at Sterling Sound in New York. the sound is powerful, punchy, and muscled. Side A's "Chains"–which the chorus borrows from Moment of Truth's "Chained to your Love" [Salsoul Records SZS 5509]–is nevertheless quite original. The short intro consists of panned drum tom strikes in accelerando, then what appears to be heavily-distorted-fuzzy electric guitar takes command, creating one of the hardest-driving disco tracks of all time. The riff's relentless energy leaves the impression that the 116 bpm track clocks in at a much faster pace. The mix of male and female vocals at different intervals makes it interesting as well. Lastly the break breaks with tradition, providing panned percussive details and spacey sound effects, prancing over clear rhythm guitar augmented by brief brass contrasts. Incredibly "Cream" rises to the same level in quality, both musically and sonically. The 123 bpm track pummels the four on the floor in a more metronomic uncluttered presentation. Again, male and female vocals combine in a perfect blend. Mixing, mastering EQ choices, and disc-cutting are up there with the top! Must-have disco and demo track from this white-label promo.
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207- Gregg Diamond, Bionic Boogie – "Hot Butterfly"/"Fess Up to the Boogie". Polydor – PRO 088 (promo) or PD D 509, 2141 112 (1978), 12", 33 1/3 rpm. Genre: smooth soulful disco.
"Hot Butterfly" is the third track extracted from Diamond's second album as discussed just above. It is a much slower, smooth, soulful disco song around 93 bpm featuring his signature piano playing and riff, and the rich vocals of Luther Vandross. These and the song's arrangements give it a very uplifting vibe. This is the "special disco re-mix by Jim Burgess". The staccato intro is kind of a slowed-down take on The Trammps' "Disco Inferno" intro but spun in reverse, i.e. here, the notes are ramping up the staircase instead of ramping down before the main riff shuffles or drags along. The cute chorus has the vocals singing the title's lyrics in French–"Chanson Papillon"–while the song's bridge borrows from the bridge of Marvin Gaye's "What's Going On" [MFSL UD1S 2-008], as well as the intro to its following track "What's Happening Brother". This transforms into the breakdown where instrument layers are peeled away in successive music measures as the song progresses, and towards the coda, congas now dominate the landscape on this higher plane. I have the regular red label pressing but I imagine the white label promo must be as good if not even better than my copy. Godfrey Diamond's mixing is once more divine, and the mastering's tonal balance is nearly on par with the previous selection with great kick attack, groovy piano sounds, plus a delicate harp appearing at certain intervals. Big soundstage in all three dimensions. Side B's "special disco re-mix by Gregg Diamond" of "Fess Up to the Boogie" did not reach the same success on the charts or in clubs, but is plenty enjoyable just the same, and its sound is impressive also with a very sharp kick, and highly-panned trebly electric guitars. The minor blemish are the upper mids, lower treble of the piano coming off slightly hot in the mix within the detailed tonal balance.
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208- B-H-Y – "Come as You Are"/"Opus BHY". Salsoul Records – SG 307 (1979), 12", 33 1/3 rpm. Genre: disco, Philly soul.
B-H-Y stands for Baker-Harris-Young, as in bassist Ron Baker, guitarist Norman Harris, and drummer Earl Young, the inseparable Philly-based trio behind such groups as The Trammps, M.F.S.B., Double Exposure, and the major backbone for The Philadelphia Sound. Mixing disco, Philly soul, and funky big band brass, this twelve-inch single did not turn out to be a big hit but it is still musically excellent, and sonically stunning. Both songs are exciting and upbeat, and it begs the question: how come they did not receive proper airplay on radio and in clubs? Recording engineers Carl Paruolo, Dick Devlin, and Jeff Stewart at Sigma Sound Studios in Philadelphia, mixing engineer Bob Blank at Blank Tape Studios in New York, and mastering-cutting engineer Jose Rodriguez at Sterling Sound in New York outdid themselves. This particular version was mixed by Bobby "DJ" Guttadaro. Exceedingly punchy in the kick drum and bouncy in the bass, the attack is sharply defined and to die for! Huge soundstage as a bonus. I have the regular Salsoul pressing but it also came out as a white label DJ promo.
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209- Double Exposure – "Newsy Neighbors". Salsoul Records – SG 2069 (DJ) (1978), 12", 45 rpm, promo. Genre: Philly soul, soulful disco.
This Philadelphia-based singing quartet first formed in 1961 going under the name of the United Image, which spawned two lesser known singles–"Love's Creeping Up on Me" [Volt VOA-4065] in 1971 and "The African Bump" [Branding Iron Records BI-1834] in 1974. They hit their stride when they switched to Salsoul Records and had their first major hit in May 1976 with "Ten Per Cent" [Salsoul 12D-2008], the very first commercial 12-inch single available to the public–prior to this release, only deejays and radio stations had access to a few rare low-numbered promo copies. Although that song is a very important and exciting "classic" disco track, its sound quality doesn't quite meet my criteria for this TOP 500 LIST. Fortunately their fourth single released strictly as a 12-inch white label DJ promo does so in spades. Originally interpreted by Philly female trio First Choice from their 1973 debut album Armed and Extremely Dangerous [Philly Groove Records Incorporated PG 1400], "Newsy Neighbors" is given its male version counterpart. Co-written and produced by Norman Harris, engineers Carl Paruolo, Dirk Devlin, Ken Present, and Rocky Schnaars recorded it at Sigma Sound Studios and Alpha International Studios in Philadelphia, and Jose Rodriguez mastered and cut it at Sterling Sound in New York. Lasting just under five minutes, and cut at 45 rpm, it is not surprising that the sound is very dynamic, articulated, punchy, tonally balanced, breaths, and has a wide soundstage.
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210- Double Exposure – "I Got the Hots For Ya" (mixed by Bobby "DJ" Guttadaro)/"I Got the Hots For Ya" (mixed by Bobby "DJ" Guttadaro, Ken Cayre). Salsoul Records – SG 304 (1979), 12", 33 1/3 rpm. Genre: disco, soulful disco, Philly soul.
This was their last disco hit released around June 1979. It boasts two different mixes of the same song done by Bobby "DJ" Guttadaro coasting at a mid-tempo of 114 bpm. Side A starts with hand claps and piano in the lead followed by the drums, then bass and brass come in, percussions, and vocals; while side B starts with the drum solo, followed by guitar, then bass and vocals. The latter version is more stripped down, putting the kick drum at the forefront with the bass line and vocals a close second. Produced, arranged, and written by Ron Baker, engineers Carl Paruolo, Dirk Devlin, Ken Present, and Rocky Schnaars recorded it at Sigma Sound Studios in Philadelphia, with mixing engineer Bob Blank at Blank Tape Studios in New York. Mastered and lacquer cut by Robert Ludwig at Sterling Sound in New York. I have the white label promo and the regular pressing, and both are very close but I have a very slight preference for my regular copy, the latter being a smidgen less sharp and warmer in the mids than the promo–but on another system it could go either way. Both mixes sound fantastic, with side A's mix sounding more detailed in the treble because of the tambourine and having more layers of instrumentation, while side B's mix predominates more in the bass and low mids, with outstanding heft, articulation, displacement, and solidity in the kick drum, precise electric bass lines, crisp and transparent electric guitar and vocals. The tonal balance especially on side B is so "on the spot" that you really feel like cranking it up a few notches. Another demo disco track with your woofer's x-max excursion being more the true volume limiting factor than one's own ears!
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211- Donald Byrd – At the Half Note Cafe (Volume 1). Blue Note – BLP 4060 (mono), BST 84060 (1961), Blue Note Tone Poet Series – B0033842-01 (2023), 33 1/3 rpm. Genre: jazz, hard bop, bebop.
Will that be black or with milk and sugar?
From the patron's opening chatter and hand claps, jazz radio personality and Blue Note's "head of publicity" Ruth Mason–completely to our left of stage–introduces the quintet to New York's famous Half Note Cafe jazz club. Just judging by the intro's natural sound quality, you know you are in for a real treat. Byrd is accompanied by Pepper Adams on baritone sax, Duke Pearson on piano, Laymon Jackson on bass, and Lex Humphries on drums. Pearson's "My Girl Shirl" starts us off on a fast-pace, strong note, with both blowers playing unison–Adams on the right and Byrd on the left. Naturally the latter takes the lead solo with an agility that many would envy, highlighting how Byrd was flying at the top of his game. Dizzy comes to our head, and indeed bebop phrasings nourish Byrd's fluid vocabulary as does Adams' deep and full tone lead solo. Pearson's piano takes third solo. He's on the left and you can hear some subtle bottle or glass clinking in the background reinforcing the recording's realism. Towards the coda, Byrd and Adams trade places in a call and response with the drums, ending with both back in unison reprising the opening main riff. "Soulful Kiddy" switches style to the typical early-1960s Blue Note hard bop cat-swinging "spy jazz" vibe. Side B slows things down to a beautiful ballad–"A Portrait of Jennie", the jazz standard popularized by Nat King Cole in 1948. Closing the album, "Cecile" picks up the pace a notch or two, leading with the piano, followed by the horns in unison seemingly blending in a nursery rhyme into the main riff, leading to the baritone's warm presence owning the moment with the rhythm section comping along. Rudy Van Gelder did an outstanding job capturing the combo in a very realistic small-venue live setting with the perfect ratio of intimacy, presence, and ambiance that would even make Goldilocks proud, clearly superior sounding to his regular RVG standards. I am lucky to have an original or second press (non-DG) NM mono pressing which I always found excellent, exceeding the average original Blue Note sound–which has its pros and cons–the ride cymbal particularly natural-sounding. But this Tone Poet remastered and cut as always by Kevin Gray accompanied by Joe Harley is a cut above the rest. As is usually the case, the Tone Poets surpass the originals in better, warmer, and wider tonal balance. Such is the case here, with better bass, baritone, and exquisite trumpet; but perhaps because of Van Gelder getting it better at the tape source, Gray got it superior also to his high standards. As typical Tone Poet, the visual presentation is top notch with laminated gatefold cover showing inside the musicians as well as RVG and Alfred Lion. To conclude this ranks as one of their top-sounding remasterings; plus you get subdued Jazz at the Pawnshop ambiance with to my taste, superior music and performances. Demo-worthy!
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212- Grachan Moncur III – Evolution. Blue Note – BST 84153 (1964), Blue Note Classic Vinyl Series – Ume 4535335 (Ger.) (2022), 33 1/3 rpm. Genre: avant-garde jazz, contemporary classical, third stream, modal, hard bop.
Trombonist Grachan Moncur III's debut album Evolution features an impressive lineup consisting of Lee Morgan on trumpet, Jackie McLean on alto, Bobby Hutcherson on vibes, Bob Cranshaw on bass, and seventeen-year-old Tony Williams on drums–who had just joined Miles Davis' Second Great Quintet. Four long pieces, all composed by Moncur III, gravitate towards the avant-garde jazz style, in the vein of Eric Dolphy's Out to Lunch! [Blue Note BST-84163] released five months later, which also starred Williams and Hutcherson in their ranks–see selection #192 from https://positive-feedback.com/music-supersonic-recordings/top-500-supersonic-list-part-31/. An "Air Raid" starts side A. At first all is quiet on the Northeastern front with only a sustained grumbling from the vibes supported by the bass slowly alternating between the two same notes; sax enters, then trumpet chimes in unison, leading to the trombone's solo sliding at a snail's pace until the one-minute mark where they switch gears to turbo tempo; Tony turning up the heat on the cymbals and skins before reverting to the turtle slo-mo pace. The sax takes up the torch doing his dissonant solo, repeating the pattern, persuing with the trumpet's frenetic soloing until the snare and vibes play a game of cat and mouse, after which the main motif makes a final comeback. The title-track offers a different vibe–no, not the instrument–but the mood. At twelve-minutes, it is the longest piece of the album and stays very slow the entire time with a dissonant eerie ambiance, more third stream contemporary than jazz per se, not unlike Stan Kenton's mid-1960s Neophonic Orchestra explorations. Judging by the interplay between the instruments and especially the snare drum and vibraphone, it is conceivable that it may have influenced Lalo Schifrin's work–not the theme but rather the recurring 'secret operation'-background tracks–on such TV series as Mission: Impossible and Mannix from the same era. Side B opens with my favorite piece from the LP, "The Coaster". Coasting energetically at a cool hard bop pace led by the trombone and vibes, the quintet does a volte-face when the trumpet and sax join in, creating a Spanish-like chord or Phrygian mode. It gets really interesting when the sax solo blasts off full speed ahead, the bass doing double time with Williams weathering the storm of snare and cymbals, skillfully counterpunching the trumpet, the group going back and forth between flamenco-flavoured influences and straight hard bop. Here Morgan masterfully crushes it, so does Hutcherson, his mallets moving at dizzying speeds. The coda comes back with the minor-key motif, followed by an original loop-like fade-out. The final track "Monk in Wonderland" combines a strange ascending and descending Monk-ish music scale with all players in unison for the first measures, after which trumpet, sax, trombone, vibe, and bass go solo, before they end off repeating the main motif. This is another Blue Note where RVG surpassed his usual batting average, nearly equalling his work on Dolphy's Out to Lunch!. Kevin Gray remastered and cut it in 2022. The timbre and realism of the vibraphone and the soundstage's layered relief and depth are to die for. The dynamic snare drum is also a recurring highlight. Brass meet the usual high standard of Rudy–always his forte–and bass is better than typical, though a touch light weight more on side B than side A. Being part of their 'Classic Vinyl Series', it is pressed in Germany by Optimal Media GmbH. As such this release surpasses the average of this series and is among its best, but it falls just short of the usual higher-refined and priced Tone Poets from RTI, showing some faint grain in the treble affecting the brass. Given a choice, I would have easily payed the price difference for an RTI-pressed Tone Poet for that extra refinement, warmth, and the superior-looking glossed gatefold jacket for such a musically incredible album.
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213- Metallica – The $5.98 E.P. – Garage Days Re-Revisited. Elektra – 60757-1 (Ger.) (1987), 33 1/3 rpm. Genre: thrash metal, speed metal, heavy metal.
What sets this Metallica release apart from their main catalogue is that it is an EP rather than a regular LP, plus there are no original compositions; all five tracks are covers of lesser-known bands that they liked or were influenced by. With the exception of Killing Joke who were more successful and more alternative-leaning, the four others–Diamond Head, Holocaust, Budgie, and Misfits–fitted more in the late-1970s and early-1980s heavy metal and hardcore punk scene. It came out in August 1987, when the band was at an important juncture in their career. Following the death of bassist Cliff Burton, as well as their masterful Master of Puppets in March 1986, and preceding the progressive landmark...And Justice for All in September 1988, Garage Days afforded the band a brief recess from their heavy schedule and what lay ahead as success grew, cementing their reputation for the decades which followed. They rehearsed in drummer Lars Ulrich's garage in EL Cerrito, before recording and mixing at A&M in Santa Monica, and Conway in Los Angeles, California. The performances and resulting sound are both exalting and raw, very much like a live band playing in your garage or basement. Tight, and dynamic with crunchy guitars, dry vocals, crisp, natural drums, and barely produced–almost "direct-to-disc" sounding, but fiercely energetic and exciting from start to finish. Engineered by Csaba "The Hut" Petocz, Greg Dennen, and Mamie Riley, and mastered by Ron Lewter, the sound is refreshingly honest, scarcely compressed, especially so for a metal release. This is Metallica as non-polished as you'll ever get to hear.
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214- Prong – The Peel Sessions. Strange Fruit – SFPS078 (1990), 45 rpm. Genre: crossover thrash, speed metal.
Keeping in the vain of the previous selection, New York City's Prong participated in the famous "Peel Sessions" emanating from the vaults of BBC Radio 1. Named for DJ radio presenter John Peel, the show often featured emerging rock bands performing four songs live in the studio, and mixed the same day, giving them a raw, demo or garage-like sound quality and feeling. Based on the half-dozen vinyl releases of this series I have heard, all are dynamic, refreshing, exciting, and audiophile–in an authentic-sounding presentation. Prong is no exception in every manner. The four short songs stemming from their debut EP and album–Primitive Origins [Mr. Bear Records MRB 003] and Force Fed [In-Effect 88561-3004-1] respectively–are explosive! From the beginning, Prong were a cross-pollination of punk, thrash, angular, and abrasive metal, heading more towards a groove, alternative, and industrial metal, starting with 1990's Beg to Differ [Epic E 46011] and continuing on 1991's Prove You Wrong [Epic EPC 468945 1] featuring the single "Unconditional". On this EP, the trio consists of Tommy Victor on guitar and lead vocals, Mike Kirkland on bass and lead vocals, and Ted Parsons on drums and back vocals. Produced by Dale Griffin, engineer Mike Engles recorded them in January 1989 and the first transmission was in February. The thin but silent UK pressing was done by Adrenalin in Slough, Berkshire, England in 1990. The sound is direct, dynamic, punchy, and well balanced.
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215- Virgil Fox – The Fox Touch • Volume One. Crystal Clear Records – CCS-7001 (Ger.) (1977), 33 1/3 rpm, (black vinyl version). Genre: classical, baroque, modern.
There are very few pipe organ recordings rising to the challenge of making it onto this SuperSonic List, simply because rare are those that are recorded, mastered, and cut well enough to impress in comparison with the real thing. The Mighty Beast, often regarded as the "King of Instruments", poses a colossal task to any engineer, by its sheer size, power, and otherwordly dynamic range. Finding the right equipment, mic positions, and recording levels are not for the faint of heart. Which explains why it is only the second pipe organ record yet featured here, the first being the Buzz Brass, Barney, Holst's Planets on Fidelio Music at #21–see https://positive-feedback.com/music-supersonic-recordings/top-500-supersonic-list-part-3/ . Being a direct-to-disc definitely raises the stakes a few notches regarding best cutting levels, headroom, and groove-pitch spacing, but it will help for a greater dynamic range and lower noise floor due to eliminating any tape hiss. Crystal Clear Records–like most direct-to-disc releases–were nearing their peak period in 1977, right before the first commercial digital recordings on vinyl. I have a few of their releases in 33 1/3 and 45 rpm, and most are sonically quite impressive. This one is no exception; plus music wise, renowned organist Virgil Fox–famous for his "Heavy Organ" concerts during the 1970s–gives a vigorous performance of three tremendous Toccatas, including probably the most famous Toccata and Fugue in D minor (BWV 565) by Bach. Also present and from Bach is the Toccata, Adagio and Fugue in C major (BWV 564), plus the Toccata from the Symphonie Concertante, Op.81 by Joseph Jongen composed in 1926. Fox plays a Fratelli-Ruffatti organ consisting of 116 ranks, 108 stops and 6791 pipes. Recorded at Garden Grove Community Church, in Garden Grove, CA. Pressed by Teldec-Press GmbH in West Germany. Engineer and co-founder of Everest Records, Bert Whyte, and mastering and cutting engineers Richard Simpson and Stan Ricker did a phenomenal job. Some of the most dynamic and deepest organ bass on record!
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