The Band, Music From The Big Pink (Vinylphile, 33 RPM)
One of the most iconic and influential albums in rock 'n' roll history, The Band’s Music From The Big Pink was originally released in 1968 on the Capital Records label. As their debut album, it was their first recording effort after touring with Bob Dylan as his backup group in the mid 1960’s. Famously composed in the basement of a pink residential home in West Saugerties, New York, these recordings were the foundation of The Band’s highly innovative and distinctive sound going forward. The album was a key influence for the likes of many song writers and musicians from that era. This includes Eric Clapton, George Harrison, Roger Waters, and John Fogerty as just a few examples who openly praised the title. One particular piece of folklore is that Eric Clapton was especially impacted, as he immediately decided to leave his then group Cream to try something different after hearing the album and the music. From a musical perspective, one might classify Music From The Big Pink as an early contribution to the “Americana” genre, and it’s rootsy combination of folk, blues, rock, and country.
Music From The Big Pink is one of my all-time favorite albums, and thus I have several pressings. I have the 1968 OG cut at 33 RPM and pressed at Jacksonville (the mastering engineer was not credited), the 2012 Mofi reissue cut at 33 RPM by Krieg Wunderlich and pressed at RTI, and the 2018 Universal reissue cut at 45 RPM and pressed at Precision. This last pressing has quite a pedigree as it was remixed by Bob Clearmountain, remastered by Bob Ludwig, cut by Chris Bellman, and creative oversight was provided by Robby Robertson himself. I have to say that all three have very good sound, with the OG having slightly more energy, the Mofi has a more fleshed out and realistic weight in the mids, and the 45 RPM 2018 Universal has an amazing level of detail and transparency. However, none of these pressings have the lower end extension and jump factor that this album really deserves. Until now.
From the first needle drop, there is clearly an additional amount of exciting punch and drive on the Vinylphile pressing. Like the Mofi, there is also a proper richness in the mids that make the entire album so much more enjoyable. Detail and speed are excellent with no edge or brightness. The sound stage seems to have expanded with more air and life. Cut by Joe Nino-Hernes and pressed at RTI, this combination continues to impress with each and every Vinylphile reissue. “The Weight” is a perfect example. Robby Robertson kicks the track off with a beautiful rendition on acoustic guitar followed quickly by a thunderous smack on the drums by Levon Helm. Lead vocals by both Rick Danko and Levon Holm are more clearly defined and three dimensional than ever before. The sound just seems so much bigger and expressive. Highly recommended!
The Stooges, Fun House (Mofi, 45 RPM)
Fun House was the second album by The Stooges and was released in 1970 on the Electra label. Considered by many as the group’s finest effort, it clearly is one of the most important and classic Garage Rock albums of all time. It has also been described as Avante-Garde, Punk Jazz, Proto-Punk, and even Psychedelic. There are several historic storylines behind the various studio sessions that led to the final mix and sound of the original recording. The intent was to try to duplicate the raw energy and drive of their live concerts by stripping down and simplifying the studio setting and microphone placement. The critics at that time were all over the map with both rave reviews and also several big thumbs down. In retrospect, the album has now received a tidal wave of support and praise, and was listed as 191 of 500 on Rolling Stone’s Greatest Albums of All Time.
With these objectives in mind, how does the OG and some of the various reissues stack up? I have the 1970 OG pressed at Monarch. It is definitely a keeper! Though the top end is slightly restrained to my ears, the overall end result is still wonderfully edgy, gritty and unfiltered. It clearly meets the priorities listed above by the band. With a Discogs median price of $259 and a high of $785, good luck finding a clean vinyl copy. I also have the 2025 Rhino High Fidelity cut by Kevin Gray. I love everything that Kevin Gray touches and this is no exception. With a more powerful and distinct low end, I am hearing better definition and clarity than the OG at all frequencies. To my ears, Ron Asheton’s guitar work and Iggy Pop’s vocals sound as tenacious and unsettling as the OG. This was my “go to” pressing until the Mofi.
Cut by Krieg Wunderlich and pressed at Fidelity, the 45 RPM Mofi just slaps from every perspective! There is an authentic balance and rhythm to the cut that unleashes all the slashing, distortion and desperation that makes this band so appealing. The sound stage is wider and deeper. Highs are crisp and extended. Mids and bass have a similar weight as the Rhino, yet slightly less dark and with a touch more detail and texture. On the track “Loose”, Scott Ashton on drums and Dave Alexander on bass drive the music forward with an incredible physicality and grunt that will have you scowl just as the band intended. Iggy Pop is in his true element here. Yes, he both croons and screams throughout the track, but the emotion and energy are projected over and over again like an exciting roller coaster ride. My goodness, this is one heck of a recording! If you are a Boomer like me, the Mofi will quickly transport you back in time!
Funkadelic, Maggot Brain (ORG Music, 45 RPM)
Released in 1971 on the Westbound Records label, Maggot Brain was Funkadlic’s third and final album. Produced by group leader George Clinton, Funkadelic is considered by many as one of the most important Funk bands of all time. It was originally formed as a backup band for Clinton’s vocal group called The Parliaments. Various incarnations after that included P-Funk, The Brides of Funkenstein, and Bootsy’s Band (aka, bass player and group leader William Earl “Bootsy” Collins). From a style and genre perspective, Funkadelic is known for an amazing combination of funk, acid rock, soul, and psychedelic expression. The list of rotating and contributing band members for both in the studio and on the road is endless. Needless to say, these were some of the finest musicians of their time.
The OG that I used for my comparison was the 1971 Columbia Records - Terre Haute pressing, which was cut by Howard Craft at Mastercraft Studios. With a Discogs median price of $225 and a high of $750, you have to wonder why an audiophile quality reissue took so long to come out. Prior to this new ORG, I have yet to hear a reissue that was worth owning, as the OG is so much better in sound quality when the music can find a way to shine through. Like most copies of this wonderous title, despite the VG+ condition from a visual aspect, we had to ignore the clicks, the pops and the noise despite a good cleaning. Thankfully, the music and the excellent quality of whatever tapes were used back in 1971 came through loud and strong. The OG had plenty of flair and exciting presence. Mids were fairly well saturated and the low end had a reasonable amount of weight and authority. This was a very acceptable and appealing benchmark, yet I continued to march forward with anticipation.
Bottom line. The new ORG Music reissue is absolutely fantastic! As stated on the hype sticker, it was "mastered direct from analog tape to lacquer,” and was pressed on two LP’s at 45 RPM. The mastering and restoration were provided by Dave Gardner and Catherine Vericolli. Now we have the dynamic expression and visceral impact that this album really deserves. The sound stage opens up and you can easily hear into the music and identify each individual instrument and vocal. Mids and highs have all the proper bloom and palpability that should have been realized from the very beginning. Bass was powerful and tight.
The title track, “Maggot Brain,” is an incredible 10 minute masterpiece that has never sounded better. As the story goes, it was recorded in one take when Clinton, under the influence of LSD, instructed lead guitarist Eddie Hazel, “to play as if he had just learned that his mother was dead,” and that he should "picture that day, what he would feel, how he would make sense of his life, how he would take a measure of everything that was inside him, and let it out through his guitar". Talk about soaring power and an emotional connection! You get it all on this track and throughout this pressing! ORG deserves a gold medal and the ultimate praise for the time and effort extended on this magnificent reissue!
Fink, Wheels Turn Beneath My Feet (Experience Vinyl, 33 RPM)
Wheels Turn Beneath My Feet is another one of those hard to find little gems that many audiophiles would just love to have in their collection. Originally released in 2012 on the Nija Tune label, the challenge here is that the OG was only released on vinyl in the UK. CD’s seem to be somewhat more available, though they too can be very expensive. There were never any vinyl reissues until now from Experience Vinyl. The median price on Discogs for the OG is $406 with several listings in the $800 to $2000 range. The only vinyl copies that I have heard were at a few of the high end audio shows, though it clearly left a mark on my ever expanding wish list. I have actually jumped into a few bidding wars for that 2012 OG, but it was not to be. Well, my patience was well worth it. A big thanks goes out to the folks at Experience Vinyl, who reached out directly to Fink and his management team, and found a way to make this reissue happen!
English singer, songwriter and musician Fin Greenall, who is professionally known as Fink, was born in Cornwall and is now based in Berlin and London. He came from a very loving and supportive family where music was encouraged as a big part of their daily lives. I greatly enjoyed the story told by Fink, that his father loved to play his Martin acoustic guitar, but proclaimed that "it was his one possession where he said everything in this house is owned by everybody – apart from that.” Early in his career, Fink worked in the music industry for several labels including Virgin, Def Jam and Sony. He also remixed, produced and co-wrote music with such artists as Ryuichi Sakamoto, Elbow, and John Legend. As a song writer and performer, I would describe his music as almost hypnotic and sparse with elements of folk, blues and electronic rhythms. His lyrics can sometimes be very melancholic and intense, yet also somewhat raw and unnerving.
Wheels Turn Beneath My Feet was recorded in Europe on the “Perfect Darkness” tour from 2011 to 2012. The various venues and audiences provide an immediacy and emotional connection that only a very few recordings can emulate. Cut by Max Gilkes, this is a two LP reissue pressed at A to Z Media on colored vinyl. The word “immersive’ has been overly used of late when evaluating various albums, but it is entirely appropriate here. Even though you are somewhat limited by two channels, the soundstage is huge and totally surrounds you front and back from your listening position. The track “Perfect Darkness” is an excellent example. There is something almost atmospheric in the music that provides a feeling of peace and serenity, yet it can quickly turn and make you wonder if the lyrics are now about anger or fear. Instruments and vocals are naturally projected with a rich harmonic structure and tone. Bass, snare drums and acoustic guitar are right there before you. You will sit mesmerized by the quality of the sound and the meaning of it all. Such a wonderful collection of feelings and experiences. Highly, highly recommended!
Proper Perspective And Caveats
It cannot be overstated that system synergy and personal taste are critical when evaluating high-end audio components and music. These reviews are based on my subjective listening priorities, my specific system configuration, and my specific listening room. This combination is only one data point of many that exist out there for my components and the music that is played. Please consider my comments and analysis appropriately.
Review System
I have included a comprehensive list of all my components and a description of my listening room. Please click on my name in red above if this information is needed for reference and comparison.
