New Old Stock - Articles from Our Days in Print but you are also going to see some articles from our early days of going online. Original text and commentary by Brian Hartsell, now sadly departed….
During the last two years the growing resurgence of new and reissue vinyl releases has become more than just a passing fad. Record buyers are indeed being confronted by an increasingly abundant supply of new releases on vinyl. This along with the ever‑growing audiophile reissue market indeed makes this a time of wonder. Not since the late 1970's when Mobile Fidelity Sound Labs, Nautilus, Direct Disk Labs, and Columbia, among others were producing audiophile pressed and mastered vinyl have there been as many audiophile vinyl reissues made available for the consumer to choose from. Beginning with this issue I will attempt to catch everyone up with what has been happening recently, both in the growing vinyl reissue market and with all new music that is being released on vinyl.
DCC Compact Classics
Recently DCC Compact Classics has jumped into the fray and begun to release their own vinyl reissues. DCC has up until now concentrated on reissuing 24 karat gold compact discs of classic rock and jazz titles, so wouldn't you know it, their first three releases would be of classical titles. And not just any classical titles either, but three of the greatest Everest recordings, made with Leopold Stokowski conducting.
Recently in Positive Feedback Volume 5 Issue 5 Scott Dorsey took a look and listen to the compact disc issues of some of these titles. Scott also delved into the technical aspects of these recordings and the principals involved. What Scott didn't mention, however, is the history of the Western Electric 35mm magnetic film tape recorders that Everest first used for the recording of many of their performances.
When Harry Belock's investors forced the sale of Everest Records in 1960, they also sold all of the recording equipment at auction to other engineers. Bob Fine of Mercury purchased the 35mm magnetic film tape recorders and later used these very same machines to produce some of the greatest of all the Mercury recordings, the 35mm series beginning in 1962. These 35mm magnetic film tape recording machines allowed the recording engineer to use greater recording levels without the fear of tape saturation that all 1/2" tape recorders suffer from in comparison to the 35mm tape machines. Both the Everest and the later Mercury recordings made with these 35mm recorders amply demonstrate this to the listener. The first three titles released by DCC and reviewed below were recorded using 35mm magnetic film tape for some sides, and 1/2" analog tape for others. Whether by design or chance, DCC has given the listener the opportunity to compare the two different tape formats side by side.
The added expense and difficulty of these 35mm recorders helped lead to the financial downfall of Harry Belock and Everest Records, and later caused Mercury to cease using these machines for their recordings. Bob Fine, however, personally continued to use these machines on the later 35mm Command Records series of recordings he made throughout the 1960s with the Pittsburgh Symphony and other artists.
The original Everest/Belock Instrument Recordings, engineered by Bert Whyte and Aaron Nathenson among others, were originally engineered and produced to be the finest recordings available to the record buying public. The original Everest records are easily identifiable by their silver outer jacket packaging (hence the term silverback used by collectors) and dowel spline album slipcase. The records themselves were pressed on substantial vinyl and are easily identifiable by the silver and blue label. Later pressings are to be avoided at all cost due to increasingly poor vinyl used and remastering by those better equipped to wash cars than to master records.
Steve Hoffman and the people at DCC have remastered these records with care using an all‑ tube Cary Audio based mastering chain, not unlike what Everest used when the originals were mastered. These records demonstrate to me once and for all what can be accomplished when the remastering of the record is done with care using a mastering chain similar to the one used by the original recording engineers.
LPZ‑1001; Tchaikovsky‑Francesca De Rimini/a Fantasia for Orchestra/Hamlet (Overture and Fantasy)‑Stokowski/S.S.O.N.Y.
An interesting coupling by Everest of the often performed and recorded Francesca with the lesser known and somewhat obscure Hamlet overture. Originally recorded in Manhattan Center in 1958, this recording like several Stokowski made for RCA during this time, was made using the finest session players available from the New York area, including members of the N.Y Philharmonic.
Originally released as Everest SDBR‑3011, this three track recording was made entirely on an Ampex 300 series 1/2" analog tape recorder. Like all three of these Everest reissues and many of Stokowski's recordings from this era, this record is tremendously vibrant with a very dynamic and forceful presentation. Stokowski was long interested in the recording processes itself, as well as how the technology could be manipulated. This recording, like many of Stokowski's early stereo recordings exhibits a very up‑front perspective with a wide stage. The rear of the orchestra and several soloists are obviously spot mic'd but not to the degree that this miking disrupts the listeners enjoyment of the performance. While immediate and up-front in sound, this record has a perspective that is somewhat more distant than the very up-front Villa Lobos reviewed elsewhere.
This DCC reissue improves upon the original greatly in the areas of clarity and overall coherence of the orchestra. Individual players are much more in focused with a much better and clearly defined hall and stage boundaries of Manhattan Center. In addition, the new 180 gram vinyl pressings by RTI are impeccable, with a dead quiet background upon which the individual and ensemble players emerge from. The original Everest pressing, like most pressings from this era suffers from a slight grittiness in the vinyl sound.
DCC has faithfully remastered this recording without any apparent added equalization or other attempts to improve upon the original recording. This allows the listener to enjoy the original performance as it was intended to be heard, not as a reflection of the remastering engineers attempting to place there own sonic signature to the remastering.
LPZ‑1002; Strauss‑Don Juan/Till Eulenspiegel/Salome Stokowski/S.S.O.N.Y.
Originally released as Everest SDBR‑3023, this recording was also made at Manhattan Center using the same engineers as the Tchaikovsky (DCC catalog no. LPZ‑1001) reviewed above. Unlike the Tchaikovsky, the sessions recorded for the Salome were recorded using the 35mm magnetic film tape recorders. The sessions for Don Juan and Till Eulenspiegel were recorded using an Ampex 300 1/2" analog tape recorder. All sessions were originally recorded on three track and later mixed to two for record cutting.
These Strauss recordings by Stokowski are both rich in color and performance. Unlike some of the RCA recordings that he made during this time, this record was made with minimal multi‑miking. A standard microphone tree of three Neumann U‑47 microphones was used for this recording with minimal spotlighting. This recording provides the listener with a somewhat less up‑front perspective than several later Everest recordings.
Stokowski was long held to one of the great orchestral conductors of the 20th century and this record does nothing to contradict this. DCC has given the listener a reissue with all the strengths of the original with added clarity and resolution. The DCC reissue is clearly superior to the original Everest release in terms of dynamics and clarity while unlike many of the Classic reissues the DCC does not lose any of the harmonic richness that the originals possess.
LPZ‑1003; Villa‑Lobos Uirapuru/Prokofiev‑Cinderella (Ballet Suite) Stokowski/S.S.O.N.Y.
Another masterful interpretation by Stokowski of seldom recorded music. Originally released as Everest SDBR‑3016, this record like the two others reviewed above were recorded in Manhattan Center. the Villa‑Lobos was recorded on an Ampex 300 series 1/2" analog tape recorder. The Prokofiev-Cinderella suite was recorded on 35mm magnetic film tape. According to the liner notes on the original LP, the recording team used a combination of Neumann, Telefunken and AKG microphones. The three track tape was then mixed down on a custom built console to a two‑track tape session tape for record mastering.
Of the two sides of this record, side one with the "Villa Lobo's-Uirapuru" suite is the superior side with simply sumptuous sound given Stokowski by the Everest recording team. It is immediately apparent that the Villa-Lobos is recorded with a more up-front perspective with considerably more dynamics and information being present.
Side two, which contains the "Prokofiev-Cinderella" ballet suite, while not as detailed or dynamic as side one, has charms of it's own. In particular, the wood blocks that are struck as the clock strikes twelve are rendered with a particularly lifelike naturalness. Each time the block is struck you can easily hear not only the block being struck but the air surrounding the block. It is easy to hear and imagine Cinderella's carriage turning back into a pumpkin as the clock strikes twelve.
The purity of tone this record (especially on side one) is easily evident during several passages. Strings in particular are rendered with a sweetness of tone that only the best recordings seem to offer. The tube remastering by DCC not only provides the listener with a very natural string tone, it provides the listener with a very coherent sound.
This record, like all the Stokowski conducted records that Everest has released to date, does exhibit a tendency towards highlighting the soloists and different sections of the orchestra. This highlighting while easily evident does not become distracting to the listener. The differences in sound between sides on this record can be attributed to the fact that the recording sessions took place at different times. This along with the use of the 35mm film tape recorders for the Prokofiev sessions account for the differences in sound that can be heard.
The "Prokofiev Cinderella" ballet suite was also recorded with a more distant perspective from the orchestra. In addition the 35mm film tape machines being used, had a tendency towards rolling off the high frequencies that contributes to the slightly less detailed and involving sound. It is interesting to note that the later Robert Fine engineered Mercury series of 35mm film tape recordings all used a more up-front podium perspective for Fine's microphone tree. I think that this enabled the added brightness of the microphones to balance the 35mm film tapes tendency towards loss of information in the high's.
This record along with its companions is highly recommended. It is especially enjoyable to find these long‑neglected treasures from the golden age of analog finally being made available once again to the record buying public. In fact, these three DCC reissues are superior to the original Everest issues.
These DCC reissues, like the Classic Records reissues, were plated at the same location (Greg Lee Record Processing, Gardena CA. ) and pressed at the same pressing plant (RTI in Camarillo CA).So we have a chance once and for all to dispel the notion raised by Harry Pearson (in TAS issue 102, page 52) that the differences being heard by many listeners is the result of either the vinyl used by RTI or the actual plating of the metal masters. After listening to the DCC/Everest reissues it is apparent that any problem heard on the RTI pressings is most definitely not the result of either the plating, the pressings themselves, or the choice of vinyl formulations used. The DCC/Everest reissues do not exhibit the brightness or hardness of instrumental tone that affect many of the Classic Records reissues. It's obvious that the decision by DCC to remaster these recordings using an all‑tube mastering chain pays dividends to the listener in terms of instrumental purity and sweetness of tone that many of the Classic Records reissues lack.
In addition to the three records reviewed above DCC has recently begun to reissue selected rock and jazz titles on vinyl. The first group has been residing frequently on my turntable and deserves to also be on yours. Unlike the Everest classical reissues, the records chosen by DCC come from a wide range of labels and genres of music.
LPZ‑2008; Sonny Rollins/Saxophone Colossus
This record was originally released on Prestige Records (catalog no. PRLP‑7079) in 1957. Recorded in Rudy Van Gelders home studio in mono, this record captures Sonny Rollins and his quartet at the height of their powers. This record has long had a large cult following among jazz collectors, so much so that the original Yellow label Prestige is almost impossible to find in clean condition.
From the first calypso drum beats played by Max Roach during the intro to the song St. Thomas to the closing brush cymbal notes of Blue Seven the listener is aware that this record is something special indeed. This is quite simply one of the greatest jazz recordings made during the 1950s.
While this records title may be Saxophone Colossus, it is fact a true ensemble record with all members soloing freely. Tommy Flanagens piano as well as Doug Watkins acoustic upright bass are both captured with a sense of tonality and body that seems to be missing on most modern recordings. Max Roach's drum kit is captured especially well, with both subtle brush strokes and kick drum weight being conveyed in a manner that many records seem to lack.
DCC has thoughtfully reissued this record in it's original mono format, forsaking the later cheesy electronic stereo issue that Prestige issued. Mono huh, well folks many long‑ time jazz collectors have felt that many of the early stereo jazz releases had artificial staging and were lacking the tonal richness of the mono's (something which I happen to agree with completely). This record amply demonstrates to the listener that while a mono record cannot present the width of a stereo one, they can locate the individual players with depth and solidity of image that's easily heard when Roach and Rollins are playing together.
The DCC reissue has improved upon the original to the degree that picking nits on my part would seem to be churlish. Simply stated, this reissue is an order of magnitude cleaner and more involving than my 50th Street NYC yellow label Prestige original. Vinyl noise is almost non‑existent on the new 180 gram RTI pressing, something no original Prestige can claim to have (Prestige was a budget label during this time and used somewhat thin and poor quality vinyl quite often). Neither my later Blue trident label Prestige reissue or the late 1980's Original Jazz Classics (catalog no. OJC‑291) budget reissue are close to the Prestige original or DCC reissue in sound.
For anyone wanting to hear one of the great jazz records from this era without spending a fortune, do yourself a favor and buy this record, I guarantee you that you won't be sorry. How sure am I of this, well consider that within my circle of listeners, all that heard this record to date have wanted a copy of it immediately. And this cast of characters is not easily impressed or moved. Simply a great reissue by the folks at DCC. Hey guys how about releasing Sonny Rollins Tenor Madness on vinyl next, please.
LPZ‑2004; Ray Charles and Betty Carter
This record is a collection of soulful duets between Ray and Betty Carter, skillfully arranged with a small combo accompaniment augmented with a brass section and chorus on some tracks. Some might question at first glance this choice for reissue by the folks at DCC, what with the large body of work Ray produced in the late 1950's thru the early 1960s on Atlantic and ABC Records to choose from, but after the first few bars all apprehension is washed away.
The selection of material and skillful arrangements by Marty Paich allow the contrast between Ray's soulful baritone and Betty's cool soprano to be played off against one another. My personal favorite is "Baby it's Cold Outside" where Betty and Ray exchange differing viewpoints throughout the song. Betty's cool response to Ray's soulful pleading is humorous to hear.
Recorded in 1961 in early stereo, there is considerable track to track variation in sound quality. On some tracks like "Baby it's Cold Outside" the vocals of Ray and Betty are panned with Ray hard left and Betty hard right. On other tracks like "It Takes Two to Tango" both Ray and Betty remain centered between the speakers. The original ABC release (catalog no. ABCS‑385) also exhibits these traits but to a lesser degree.
This DCC reissue allows the listener to easily hear what was only hinted at on the original. Betty Carters soft vocal interplay sometimes got lost on my ABC original, on the DCC reissue she's easily heard and understood throughout.
Records such as this are seldom made anymore, Artists such as these rarely are heard in today's ever more commercially driven marketplace, so DCC's decision to release this particular record displays both considerable risk and a considerable love for this record and the artists. Simply a lovely record that anyone who loves music should own.
LPZ-2011; Jazz Samba Stan Getz & Charlie Byrd
Originally released in 1962 on Verve Records (catalog no. V6-8432 in stereo, V-8432 in mono), this was the first indication of Getz's beginning explorations into ethnic Brazilian music that would be captured more fully on the wildly successful Getz/Gilberto album that would be released the following year.
Charlie Byrd's influence on this record is unmistakable, both in his guitar playing and in the fact that Byrd brought back from his 1961 tour of Brazil many of the songs that were eventually recorded for this session. The fact that these sessions were recorded completely in one day, is ample evidence of Getz's quartet ability and ease with the music being played.
Originally recorded in a Washington D.C. church, this record exhibits a spacious and warm sound with all players being clearly located in space. As with many of the early stereo jazz records made in the late 1950s through the early 1960s, this record exhibits a degree of left/right placement that is anything but natural. Stan Getz is placed very up close in the left channel with Charlie Byrd's guitar placed dead right. What is interesting is the rhythm players are captured in a very lifelike placement.
When compared to the original Verve stereo issue the DCC is easily more transparent and extended, subtle drum brush stokes that can be barely heard on the original can be clearly heard and placed on the DCC. Getz's tenor work is upfront with a sense of being able to hear into the instrument itself, with Byrd's guitar being very natural in tone throughout. DCC has done their usual fine job on this remastering with a noticeable improvement over the Verve original. And while this is a very pleasant and relaxed recording that's easy to listen to, it ain't no Saxophone Colossus boys.
LPZ‑2006; The Beach Boys‑Pet Sounds
Brian Wilsons masterpiece. Originally released in 1966 on Capitol records (catalog T‑2458 or ST‑2458) this record highlights Brian Wilson and the Beach Boys painful transition from a pop singles band into something more. Originally intended by Brian Wilson to be released as a mono record, Capitol instead released Pet Sounds in both mono and electronically processed stereo.
Brian Wilson wrote and produced this melding of Phil Spector's wall of sound recording techniques with the Beach Boys harmonies. Most of the record was in fact recorded by Brian alone in his home studio. With additional vocal harmonies and instrumental fills later added by the other members.
This record is strangely both Brian Wilsons masterpiece and last statement before drugs and bouts with manic depression began to rule his life. From the opening notes of "Wouldn't it be Nice" to the conclusion of "Caroline No" the beauty and interplay of vocal harmonies of this record have seldom been equaled. There is a seamless flow from song to song from beginning to end that allows the listener to lose himself in the music. Paul McCartney has long acknowledged this record to be the driving influence for The Beatles recording Sergeant Peppers Lonely Hearts Club Band later that year.
DCC has thoughtfully decided to release Pet Sounds in mono as originally intended by Brian Wilson. The original mono capitol rainbow label LP that I have owned for the better part of twenty years has never had great sound from an audiophile standpoint. The DCC does improve on the original in the areas of tonality and clarity but still is limited by the original tapes. The DCC does have considerably more low bass energy than the original, at times giving the reissue a slightly heavy and thick sound. Who really cares, this record is to be treasured for the music over all else. Audiophiles looking for demonstration quality sound will have to look elsewhere, the rest of us will just be mesmerized by the music.
LPZ‑2005; Elton John‑Madman Across The Water
Originally released in 1971 domestically by United Artists on their UNI label (catalog no UNI‑93120) was also available as a DJMLP British pressing (catalog no. DJLPH‑420). This record captured Elton John and Bernie Taupin at the peak of their artistic powers.
When originally released in 1971 both the domestic and UK releases were packaged in a textured gatefold cover with a blue paper libretto glued inside the jacket cover. DCC has thoughtfully reproduced both the libretto and the gatefold album jacket artwork.
The UK pressed DJMLP issue of this title has long been considered to be superior in sound to the original domestic UNI issues of this record (never mind the later and grossly inferior MCA pressings). The DJM has a clearer and more dynamic presentation than the UNI issue, with an overall more natural sound. Upon comparison to the DCC it was immediately apparent that the DJM issue as good as it was, is lacking when compared to the DCC issue.
The fact that the DJM is a solid‑state mastered recording is immediately apparent after comparing it to the DCC reissue. The differences in instrumental body and tonality were apparent to all who were present. On the DJM issue, Elton's piano is easily heard with each note being clearly rendered, but without a sense of body that the DCC possesses. Likewise Rick Wakeman's organ playing during Madman Across The Water is rendered both clearly with a sense of body and weight on the DCC. The DJM, while clear does not have the body or weight that the DCC does.
This DCC reissue, like all of those I've heard to date presents the listener with a seamless and coherent sound. There is never a sense of strain or hardness. The only area of even moderate complaint I have with DCC's remastering is the slight tendency at times for too much mid‑bass weight being present. This coloration is only noticeable on Pet Sounds and on Madman Across The Water when compared to the original pressings.
This effect is probably caused by the Cary Audio sourced tube cutter head amplifiers. When compared to other reissues (the Classic reissues in particular) which suffer from an excess lack of weight or threadbare quality in this region, DCC's tendency towards a fuller than neutral sound, while not accurate does not distract the listener. Indeed on most systems this coloration will be heard as added weight and be enjoyable to the listener.
After listening to these first vinyl reissues by DCC, I'm struck by the fact that DCC has for the most part remastered these records faithfully when compared to the originals. After repeated listening's it is apparent that DCC is not equalizing or altering the master tapes. This is especially evident in the low‑bass or in highs where the DCC reissues do not exhibit the obvious manipulations that the Classics seem to have. While DCC did have to mix the original three‑track stereo classical tapes to two‑tracks just as the original Everest engineers did, there seems to have been a conscious effort on DCC's part to respect the artistic decisions made by the original artists and engineers.
All of the DCC reissues that I have heard to date are beautifully done and deserve to be heard by anyone interested in just what vinyl still has to offer the listener.
Mobile Fidelity Sound Labs
Recently Dave Robinson, Scott Frankland and I were invited by Herb Belkin, Joe Bermudez and the folks at Mobile Fidelity for an afternoon tour of their facilities. Beginning in the mid 1970s MFSL began releasing their 1/2 speed mastered original master recordings to the record buying public. These records quickly became widely accepted for their sound and quality of pressings that were unmatched. By the late 1980s MFSL ceased production of vinyl due to the Japan Victor Company's decision to cease pressing vinyl LPs. Herb and Joe were adamant that MFSL's departure from the vinyl marketplace was solely due to their inability to find an acceptable record pressing plant and not because of the emerging preeminence of the compact disc.
Upon the closing of the JVC record pressing plant, MFSL spent a considerable amount of effort looking for a replacement pressing plant that would meet their standards. Eventually Herb and Joe decided that the only solution to their record pressing quandary was to purchase and set up their own pressing plant where record pressing quality control would be solely under their domain.
After considerable work MFSL purchased three record pressing machines from a closed record pressing plant in southern California and had them shipped to their new facility located in Sabastopol CA. From the photos taken by our fearless leader and published last issue it is apparent that the financial commitment made by MFSL is considerable. MFSL has dedicated an entire off-site building exclusively to the production of their new vinyl releases. Inside this facility the actual pressing of the records along with quality control efforts take place. MFSL has one person visibly examine each record for visible defects, in addition MFSL has set up a listening room to aurally examine every tenth pressing. MFSL expects to only press 300‑500 records from each stamper. After approximately 300 pressings, MFSL's staff compare their original test pressing to the 300th pressing, if any difference in sound is detected the stamper is retired.
Beginning in late 1994 MFSL began releasing three new vinyl titles each month. Mobile Fidelity in keeping with their past history have released a wide spectrum of artists and genres of music. Some titles that have been chosen for reissue have left audiophiles and collectors questioning why (including myself). When questioned why some titles were in fact selected, Herb grinned and said that literally anyone can recommend to MFSL a title for release, and if Herb, Joe and the other members of MFSL's staff feel that the record has merit they will release it. Herb was emphatic that titles were not chosen solely to make a profit. Herb also stated that the folk's at MFSL would welcome suggestions from members of our community.
During our tour and conversations with the principals at MFSL, it was apparent that all these guy's deeply love the music and want to bring the benefits of the great analog recordings to a wider audience. When someone like Stan Ricker comes in on his weekends to master a record it is done because of the love of the music and the environment that Herb, Joe and the folks at Mobile Fidelity have created.
To date MFSL has released 36 Anadisc 200 series vinyl titles, since their return to the vinyl marketplace. I have chosen at this time to comment upon a few of the more recent titles that I personally find the most interesting.
MFSL 2-229; The Music of Elliott Lawrence
This two-record reissue is in fact the first time that these performances have been made available commercially on vinyl. Originally recorded for SESAC, and only made available for radio broadcast on a subscription basis, these recordings encompass a virtual who's who from the jazz community of the late 1950s. Originally made between 1956 and 1958, these recordings were recorded at various venues throughout the country. The folks at MFSL have produced a wonderful transfer of these recordings of smooth, relaxed small ensemble jazz recordings. Despite the fact that this is a mono recording, these records possess an uncanny ability to portray and distinguish the individual performers with ease. A reissue to be treasured by all jazz fans (and anyone even remotely interested in hearing good music) of music and performances from jazz's golden age.
MFSL 1-210; John Hiatt/Bring The Family
John Hiatt's coming of age LP. Recorded simply with few overdubs, this record was the first unofficial Little Village LP with Hiatt being joined on this record by Ry Cooder, Nick Lowe and Jim Keltner. This record contains a wealth of hard edged songs dealing with a variety of topics (including is wife's recent suicide) from one of America's most under-appreciated singer songwriters. Originally released on A & M Records (catalog no. SP-5158), this record firmly established John Hiatt as an artist. With songs like "Thing Called Love" being covered by Bonnie Raitt, Hiatt's songwriting craft finally began to reach a wider audience. The MFSL reissue improves upon the already very good original in image solidity and dynamics, with Ry Cooder's slide guitar work in particular benefitting from MFSL's remastering. On "Lipstick Sunset," the contrast between Hiatt's gravelly vocal and Ry Cooder's soaring, moody slide guitar solo is captured with a sense of size and weight on the MFSL that is only hinted at on the original. The closing track ending side two "Learning How to Love You" captures both the yearning for understanding and desperation in Hiatt's voice, with just an acoustic guitar accompanying him. A great LP reissue by the folks at MFSL of a truly original and distinctive artist. Hey guys how about releasing Hiatt's Stolen Moments and Slow Turning while your at it. Please
MFSL 1-208 Duke Ellington/Anatomy of a Murder
Originally recorded as a soundtrack for Otto Preminger's movie of the same title, this record has long been sought by collectors. Recorded in 1959 at Columbia's 53rd street studios, this record is a collection of short Ellington compositions for a small ensemble. Johnny Hodges, Cat Anderson, Clark Terry, and Shorty Baker all are among the featured soloists. When compared to the original Columbia six-eye release (catalog no. CS-8166) the MFSL reissue is obviously cleaner and more dynamic, without any apparent loss in tonality and harmonics. The cleaner and dead quiet MFSL surfaces allow much more subtle information to be heard, when compared to the Columbia original. A great reissue by MFSL of one of the Duke's lesser known records. Maybe MFSL can reissue Ellington's Indigo's or Blues in Orbit next.
MFSL 1-228; The Modern Jazz Quartet At Music Inn/Volume 2 Guest Artist: Sonny Rollins
The third MJQ reissue by the folks at MFSL since their return to the vinyl reissue market and the best so far. Sonny Rollins guests on tenor saxophone on two tracks, "Bag's Groove" and "Night in Tunisia." This record is worth having for these two tracks alone. Recorded live at the Music Inn in August 1958, this record captures the space around the individual players and the audience with an eerie presence. On "Bags Groove" each player can be easily placed upon the stage, with the distance between Rollins blowing in front of Milt Jackson's vibes further back easily heard. John Lewis's piano interplay with Jackson's vibes at the beginning of "A Night In Tunisia" provide the listener with ability to locate the instruments, and feel, as well as hear, the leading edge transients that one would hear live. Connie Kayo's drum work, especially the high hat cymbals and brush strokes are reproduced with a clarity that is eerie in it's lifelike naturalness. This recording was really made live and not over dubbed like so many other supposed live records. The audience can easily be heard during several quiet passages, and when applauding the listener has the sense that real hands are clapping. Originally released on Atlantic (catalog no. SD-1299) as a green label stereo or black label mono release, the MFSL reissue with it's cleaner surfaces, better cut vinyl and increased information is easily preferable to the original stereo release. MFSL have produced with this record one of the few truly great jazz reissues that have come my way recently, a true greaser of a record.
MFSL 1-209; Traffic/Low Spark Of The High Heeled Boys
After the demise of the supergroup Blind Faith earlier in the year, Steve Winwood and Jim Capaldi reformed Traffic without Dave Mason, who had embarked on a solo career. The release of the Low Spark of The High Heeled Boys was Traffic's new lineup's first offering to the public in late 1971. This record continued Winwood's and Capaldi's explorations into more extended jazz influenced songs. Chris Woods saxophone and flute solos are much more prominent on this record than on the previous Traffic outings. Originally released in the US and UK on Island records (catalog no. ILPS-9180) Low Spark's title track has long been a staple on album orientated rock radio. Strangely on this record Winwood's voice has never been well rendered, and while the MFSL reissue improves on the UK "Sunray" Island original that I own in this regard, Winwood's voice still sounds muted or processed. The extended jazz influenced instrumental songs presented here while enjoyable, tend to hide the lack of great songwriting (something sorely missing without the presence of Dave Mason). This along with the very laid back sound of this record ultimately leaves me unsatisfied. Maybe next time MFSL will release Traffic's best LP, Mr. Fantasy on LP (they have already released this title on a Gold CD).
MFSL 1-231; REM/Murmur
The major label record debut for Athens' Georgia's most famous export. Recorded very simply in Match Easter's Reflection (a converted garage) studio , with Don Dixon's able help in production and engineering, this is a simple direct no-frills rock record with Michael Stipes vocals being the only part of the sound consciously altered or processed. Beginning with the college radio hit "Radio Free Europe" that launched both REM and the entire Athens movement upon the unsuspecting world, REM's first full length LP can best be described as a combination of Stipe's mumbled vocals with Peter Buck's Byrd's influenced guitar riffs. The IRS original LP (catalog no. SP-70604) while punchy and dynamic, lacks the clarity of the MFSL reissue. The MFSL has noticeably more resolution with Stipes vocals being if not fully understood, at least clearer and more discernable. MFSL's substantial 200 gram vinyl pressing with it's dead quiet surfaces once again allows many subtle details to be heard, that on the original were lost or obscured by vinyl noise. While Murmur is not the greatest REM LP, it is the first step along the path that has led REM to becoming the most original and interesting American rock band of the last decade. Mobile Fidelity has provided an honest remastering of a landmark LP that is well worth owning.
MFSL 2-225; Todd Rundgren-Something/Anything
Todd's commercial breakthrough album from 1972. Originally released as a two record set on Bearsville Records (catalog no. 2BX-2066) and containing Todd's first two top twenty singles, "Hello it's Me" and "I Saw the Light," this record firmly established Rundgren as a singer/songwriter to the commercial public. Unfortunately for the listener, the original recording, (like many Rundgren efforts past and present) is of AM radio caliber at best. There is no low-bass to speak of and the highs are bright and hard. Which is too bad since this record contains some of Rundgren's best work. Even great power pop songs such as "Couldn't I Just Tell You" are simply ruined by Rundgren's heavy handed production work. The MFSL reissue which has faithfully reproduced the original poster and gatefold cover artwork from the original, cannot make a silk purse out of a sow's ear. Simply put this record, no matter how good musically should never have been reissued by MFSL. The time and energy put into this record would have been better spent on a more worthy and better sounding selection. As Todd sings couldn't I just tell you, I can't keep it bottled up inside well guy's neither could I.
MFSL 1-208; The Moody Blues/Threshold Of A Dream
An interesting choice by MFSL for reissue since Nautilus had already reissued this record as a 1/2 speed vinyl reissue some time ago. Originally released in 1967 on Deram Records (catalog no. SML-1035) and available on a UK and US release, this was the Moodies third release with the current lineup. Originally conceived as a concept LP centering around a dream, the record is held together by recurring musical themes. Threshold was if not completely successful as a concept album, does contain some of the Moodies best songs. Both the Nautilus reissue (catalog no. NR-21) and the UK "blue dot" original LP's are fine remasterings of this LP. The MFSL reissue more closely resembles the Nautilus 1/2 speed in sound, with considerable detail and low bass weight. Where both the Nautilus and the MFSL fall short of the UK original is in the areas of air and transparency surrounding the individual instruments. This is easily heard on Haywards lovely ballad "Never Comes The Day" where Hayward's voice and acoustic guitar have more body and presence on the UK original than any other issue. Since this record was apparently recorded using tube equipment, the perceived differences heard might be attributed to the mastering chain itself. So, while the MFSL is a fine sounding reissue with considerable merits, it ultimately falls short of the UK original. The Nautilus reissue which is out-of-print and runs about $40-60 for a mint used copy is comparable to the MFSL reissue, with the MFSL being slightly preferable due to it's increased low-bass weight and cleaner highs. The MFSL reissue can be recommended on it's own right and is superior to all other issues that I have heard except the UK original.
MFSL 1-232; The Moody Blues/Every Good Boy Deserves Favour
Originally released in 1971 on Threshold Records in the US and the UK, this Moodies LP was the sixth with the lineup of Justin Hayward, John Lodge, Ray Thomas, Mike Pinder and Grahmn Edge. By the time of this release the Moodies had developed a tight formula that allowed the entire LP to be tied together by a recurring musical thread or theme. By the time of this release Justin Hayward and John Lodge had become the principal musical driving forces behind the Moodies sound. Gone from this record are the meandering poetry readings of Grahmn Edge and the use of the Mellotron is greatly reduced., Indeed this record on side one especially, is basically a straight ahead rock record dominated by Hayward's guitar riffs and Lodge's bass work. The MFSL reissue provides a low-bass foundation to this record not heard on any other version of this record that I own. This low-bass weight is especially evident during the "Procession" track that leads off side one, that segues into Haywards "Story in Your Eyes" (easily the best song on the record and one of the better songs from that year). Unlike the Moodies Threshold Of A Dream reviewed above, the MFSL reissue of this record is superior to the original UK issue. And while many critics tend to dismiss or denigrate the Moody Blues recorded legacy, this record amply shows that there was considerable substance to their music beyond their image as veteran cosmic rockers. The best Moody Blues reissue to date by the folks at Mobile Fidelity, highly recommended.
MFSL 1-233; Sonny Terry & Browning McGhee/Sonny & Brownie
Another off the beaten path reissue choice for MFSL. Originally released in 1973 on A & M records, this release finds McGhee and Terry ably backed by a rotating cast of musicians, including John Mayall on piano and guitar. A simple direct recording with few frills, this record captures the weary gravelly voice of Browning McGhee set in a sparse acoustic rural blues background. The simple arrangements allow the individual players considerable room to solo without losing the tight feel to this record. My original A & M release was not competitive to the MFSL in sound, with a noticeable loss of detail, body and weight. A record that grows on the listener after repeated listening. Blues fans and non-blues fans alike should pick this one up. Like old flathead Ford's, they just don't make 'em like this anymore.
MFSL 1-222; John Cougar Mellencamp/The Lonesome Jubilee
Mellencamp's 1987 follow up LP to the multi-platinum Scarecrow LP. This record doesn't have the strength of material that the previous release did, and consequently did not sell as well when originally released. The songs found on this record are more hard country tinged with the more liberal use of mandolins, banjos and dobros throughout, than any of Mellencamp's previous releases. Mellencamp's lyrics on this record continue his explorations of rural life and the daily struggles in the heartland of America. Recorded simply in Belmont Hall Indiana, and co-produced with Don Gehman, the tenor of these performances reflects the hard country roots of the area. The original release on Mercury/Polygram Records (catalog no. 832 465-1) appears to be all-analogue without the hardness or lack of body exhibited by most digital pop recordings of this time. The MFSL reissue is better than the original pressing in several subtle ways, with the MFSL's dead quiet vinyl background allowing more subtle information to be heard due to the lower noise floor provided and considerably more weight in the bass. The MFSL reissue also provides more body to the individual instruments than the original pressing does. Too bad MFSL found the tapes to Scarecrow to be in poor condition. A well done reissue.
MFSL-240; Bernard Herrmann/NPO-The Fantasy Film World of Bernard Herrmann
A long time audiophile favorite, this record was originally released in 1974 by London/Decca as one of their series of Phase 4 recordings. Long held by many soundtrack and audiophile collectors as one of the best sounding soundtracks ever made. A deserving long-time member of HP's Super Disc List in it's Decca Records guise (catalog no. PFS-4309), this record represents the first orchestral recording (let alone a soundtrack recording) to be reissued by Mobile Fidelity in quite some time. Given that MFSL's prior history with classical reissues has been one of disappointment, with very few of the MFSL classical reissues measuring up favorably with the originals, this record will be of considerable interest to collectors and audiophiles alike.
For those readers who are unfamiliar with London/Decca's phase 4 series of recordings, these recordings were extensively multi-mic'd and manipulated. Do not expect the purity and naturalness of a two track RCA or Mercury. While multi-mic'd many of the Phase 4 recordings especially the Bernard Herrmann series of film music recordings and several of the Stokowski conducted recordings are very exiting in sound and performance.
MFSL's remastering of this record is absolutely superb with tremendous dynamics and low-bass fundamentals. During the "Journey To the Center Of The Earth" there are tremendous low-bass organ notes present. Each section of this record was made with different groups of instruments and at a various locations. On the MFSL reissue the difference in the sound of the various venues is easily heard. When listening to "The Seventh Voyage of Sinbad" the listener can easily place the string sections back in the hall with a very natural location and scale with the solo brass and woodwind players are spot mic'd and brought artificially forward in the mix.
When comparing the MFSL reissue to the original Decca or London issue the listener is immediately aware that the MFSL has greater low-frequency extension, dynamics and an overall more involving presentation. A great selection and reissue that no audio thrill seeking music lover should pass up. Now guys how about remastering Herrmann's The Mysterious Film World of Bernard Herrmann also.
It is apparent that Mobile Fidelity has produced a level of quality with their vinyl reissues that all other reissue projects should strive to equal. The MFSL records are packaged in a thick cardboard gatefold record jackets with a protective slipcase outer sleeve to further protect the record. This packaging along with the 200 gram virgin vinyl pressings provides the consumer with a level of quality that has never been matched let alone surpassed. With their return to the vinyl marketplace MFSL have also reintroduced the Geo Disc cartridge alignment device and their rice paper inner sleeves to their catalog. Mobile Fidelity's new revamped remastering chain provides records that are clearly is superior to their older remastering chain in sound. The midrange suckout so evident on many of the older MFSL releases is gone from the new releases, indeed the only area that I find any area where the new MFSL reissues are not clearly superior to the original records is when the MFSL reissue stands in comparison to an original recording that was originally tube mastered.
During our visit I had the chance to spend some time with Stan Ricker in the mastering room itself. Stan graciously showed me both the mastering equipment and even played an acetate he just cut for a future release (Bernard Herrmann's London/Decca recording of The Fantasy Film World of Bernard Herrman). Stan played this acetate for us on his monitor system for us to hear. His monitoring system was set up around custom Nelson Pass electronics with Sound Lab's Pristines hard wired to the amplifiers, and while not being able to portray the spatial information on the record due to the space constraints in the mastering room itself, convincingly demonstrated the tonality and dynamics to all present. Herb did mention to us that MFSL was in the process of assembling and installing a state of the art reference monitoring/listening room for use in the near future.
During our visit to MFSL, Stan showed us that the mastering chain being used by MFSL was quite literally a straight-wire with gain approach. No equalization or reverb equipment was in the signal path. So while audible differences are still evident when listening to the reissues when compared to the originals, it cannot be the mastering approach being taken by MFSL, only the equipment.
Personally I would like to see all-tube mastered original recordings being remastered on an all-tube mastering chain. This would mean that remastering studios like DCC and MFSL would have to incur the added expense of having a mastering chain for both tube and solid state generated master tapes. This would however, allow the remastering engineer to use a similar mastering chain to that the original mastering engineers used. By doing this, the remastering would be much closer in concept and technical execution to the original recording.
The second point that I would like to see happen is when records are remastered that the original session notes are referred to, or if these cannot not be found a mint original copy of the title being remastered be used as a reference. By doing this the remastering engineer will have a better chance of really producing a first rate reissue.
MCA
No sports fans that is not a typo. MCA yes the very same MCA Records who for the better part of two decades released some of the poorest quality vinyl ever to be my sorry displeasure to own, is returning to the vinyl marketplace. Why you ask are they doing this? Because they love music or really think the vinyl medium is superior to their beloved CDs. Uh I hardly think so, but even bottom line companies like MCA who have never shown a iota of concern for the consumer can read the tea leaves quite well. And if many consumers are refusing to buy CD's and are still buying vinyl then maybe there is still a market for this supposedly obsolete format after all.
To date MCA have released five titles in their 180 gram Heavy Vinyl series. All titles are packaged in a heavy cardboard gatefold jacket with a fold over slipcase album protector very similar to the one provided by MFSL for their reissues. The new releases use the original front and rear artwork along with the original liner notes. Inside the gatefold jackets of the releases MCA has thoughtfully provided photos of the artists previously not released. As indicated on the back of the album jackets, all of these releases were mastered from the original analog master tape and not from a second or third generation dub copy, or worse yet a digital backup copy. Well now that I've got you as curious as I was, lets see what MCA has brought forth for us.
MCA-11161; Buddy Holly-Buddy Holly
Joyful, exuberant and original, these songs capture the simple beauty that defined Buddy Holly as a truly original artist. From "Peggy Sue" to "Baby Your so Square" to "Rave On" this record is a half hour joyride through the birth of something different and unique. Holly's unique hiccupping vocals and simple guitar riffs propel this music like few others. Originally released in 1958, this was Buddy Holly's second and last studio LP release before his premature death in a plane crash. Recorded in mono at Norman Petty's studio, this is simply Holly and the Crickets playing essentially live in front of the mike.
So your wondering how did MCA do with this release? Gulp um a well a guess what folks this reissue is superior to both of my original maroon label Coral Records copies (catalog no. DL-57210). Even if you can find and afford an original Coral Records copy of this record, the MCA is cleaner, on better pressed vinyl and has noticeably more information in the grooves. Individual instruments are more easily placed and heard, back-up vocals are better defined, the bass is fuller without bloat. For the demented among us, just listen to the closing notes during the opening song on side one, "I'm Gonna Love You" where a cricket can be heard softly chirping in the background, (causing Holly to name his backing group the Crickets). Don Maclean sung about Holly's death as the day the music died, well I don't know if music died but it sure became less joyful and exuberantly alive with Holly's premature passing.
MCA has thoughtfully remastered this record in it's original mono, with no apparent processing or EQ being added. The MCA 180 gram vinyl is surprisingly clean (especially for MCA). I could go on but it's not required with this title, the folks at MCA have done a great remastering of a truly great recording. Grease back the hair dudes (what's left anyway) and get ready to dance.
MCA-11164 The Who; Who's Next
Long held as one of the greatest live rock bands ever, the release of Who's Next cemented The Who as one of the most original and influential rock bands of their era. Originally released in the UK on Track Records (catalog no. 2408-102 Deluxe) and domestically on Decca Records, this was the first studio album to be released by The Who following the commercial and critical success of Tommy, the two-record rock opera released in 1969.
Who's Next captured the true sound and fury of The Who better than any other previous studio release. MCA has released the reissue of this record using Glyn Johns personal master tapes from the original recording sessions which he produced. Apparently all other previous releases of this record (with the possible exception of the UK released Track records issue) were made using a later generation tape. With MCA's previous history of incompetence and neglect I find this hardly surprising that the original master tape was lost. What is interesting is the effort expended by MCA to locate and use the original master tape for this issue. Just curious guys but just what tape were you guys using for your CD mastering earlier this decade?
MCA's reissue is easily superior to all previous issues with the possible exception of the UK Track records original. The MCA has noticeably more dynamics and bass than any previous issue. The MCA finally allows Keith Moon's drum kit to have a semblance of the kick and power that Moon had live. Individual instruments such as Dave Arbus violin being played on "Baba O'Riley" is more located and focused than ever before. Like most rock recordings from this era, this recording is a multi-tracked affair with very artificial placement of the instruments and players.
With the release of this record, Pete Townsend's songs about despair and working class anger cemented Townsend's reputation as one of rocks most gifted songwriters. Songs such as "Won't Get Fooled Again," "Baba O'Riley," and "Behind Blue Eyes" display Townsends lyrics of despair and alienation that became anthems of a generations anger at the status quo.
This MCA reissue does have a slight tendency towards mid-bass bloat with the bass taking on an overripe quality at times that is typical of many rock recordings from this era. Still this MCA reissue goes a long way towards restoring a classic album to it's original glory. A great reissue.
MCA-11165; Buddy Guy-I Was Walking Through the Woods
Recorded simply in Chess Records famous masonry basement studio in Chicago during Chess Records heyday, this is real gutbucket rocking electric blues backed with horns and soul aplenty, played by a master. This record is a reissue of an original Chess Records compilation of singles and B sides that Buddy recorded for the Chess Label in the early to mid 1960's. Backed by members of various Chess session players including Otis Spann on piano, Guy wails his way through 10 tracks written by himself, Willie Dixon and others.
Unlike the recent Original Chess Masters Series of reissues released by MCA during the mid to late 1980's that were mastered from a digital dub tape, MCA has chosen to master their Heavy Vinyl release of this Chess Records title from the original analog master tape. For anyone who still thinks that there is no difference between digital and analog this record should be heard. This MCA Heavy Vinyl series reissue reproduces the eerie ambient studio sound that many chess recordings are famous for.
This reissue by MCA, like the recent Mobile Fidelity reissue of Muddy Water's Folksinger is only the very tip of the iceberg of great music and sound that resides within the vaults of the Chess Records catalog. Artists like Bo Diddley, Chuck Berry, John Lee Hooker, Howlin Wolf and many others all made seminal recordings for the Chess label. If this title is successful, then MCA might continue to reissue gems from this catalog with the care and attention that was so obviously lavished on this reissue.
MCA-11319; Dave Mason-Alone Together
Dave Mason's first solo release in 1971 following his departure from Traffic. Originally released on Blue Thumb Records (catalog no. BTS-19), this record contains some of Mason's finest songwriting, with hit songs like "Only You Know" and "I Know and World In Changes." Ex-Traffic mate Jim Capaldi plays on this record along with Leon Russell, Delaney and Bonnie Bramlett, and Jim Keltner to name just a few.
This was surprisingly both Dave Mason's solo debut and his finest record he ever made. No future release by Mason would have either the quality of songs or the playing found on this release. Like many analog recordings made during this time, acoustic guitars have a sense of body and tone that digital seems unable to reproduce except as a one dimensional plastic sound. This record like The Who-Who's Next reviewed above does suffer from too many tracks and processing being used during the recording process. And while not natural in image placement, tonality is quite good as is the sense of body and weight of individual players.
This MCA reissue has a very similar sound to my Blue Thumb original, with the MCA having slightly more dynamics and better overall tonality. This reissue, like all the 180 gram Heavy Vinyl series of reissues was remastered by Kevin Gray at Future Disc in LA. The MCA reissue's vinyl when compared to the original is also marginally cleaner with pristine surfaces and dead silent background (this from MCA, just proves that even MCA can produce a clean vinyl product if they want to). Another well done reissue by the folks at MCA.
MCA-11257; The Mavericks-Music For All Occasions
No folks this is not a heavy vinyl release from the folks at MCA, it is a vinyl release and for that we can rejoice. Judging from the thinness of the vinyl pressing of my copy MCA hasn't completely forgotten how to make a cheap low quality record.
Despite this though anyone who has a turntable should pick this one up pronto. Why you ask? well with songs co-written by Al Anderson of NRBQ fame and a tasty tongue in cheek cover with guest Trisha Yearwood of Frank and Nancy Sinatra's Something Stupid, how can you go wrong. Well the answer is you can't. For those unaware who The Mavericks are, they recently performed during the Country Music Awards show on national TV and actually won for best song ("What A Cryin Shame"), and for album of the year. Go figure, that among all that hairspray and glitter that passes for Nashville these days, that these four hosiers would even be allowed in the front door, let alone win.
The mavericks play simple no frill roots based music, just four guys playing. What makes this record different is the quality of the songs and the people playing them. No this isn't an audiophile demonstration quality record, but I'll take one of these before any ten great sounding recordings of audiophile pap any time. A great, great record.
Despite the thin cheesy MCA vinyl pressing, the surfaces were clean with little noise being heard. MCA did give a gatefold album jacket and paper inner sleeve with lyrics just like in the good old days. Hell the inner sleeve notes even give a three step lesson to the ham handed among us on the proper care of your new phonograph record. Gee guy's it's 1962 all over again.
Enough, just go out and BUY the damn thing and if enough of us do so then companies like MCA and the bean counters that are obviously in charge there will allow more records like this to be made. Hell they might even finally release the first two Mavericks on vinyl too.
If a company such as MCA can be motivated to begin to release new and reissue vinyl releases from their extensive catalog with the care and dedication shown on these releases, then all music lovers should rejoice. If MCA shows that by producing a quality product that it can sell in numbers then maybe other labels will take note and begin to allow or release titles from their vaults. Labels such as Warner and others might be motivated to begin to allow analog vinyl reissues of classic titles, then music lovers everywhere will truly be in a time of wonder.
MCA, Mobile Fidelity and DCC should all be commended for the release of several original recordings in mono. While some will only want to hear music that was recorded in stereo, the wealth of mono recordings made between 1948 to 1960 deserves to be heard by a wider audience, thankfully someone at MCA, MFSL, and DCC have realized this and are attempting to do justice to these recordings. As music lovers we should especially support these efforts and vote with our checkbooks.
In our next issue we will begin to look at the new GRP/Impulse jazz reissues of John Coltrane and Oliver Nelson among others, along with the Connoisseur Series Blue Note jazz reissues, and we'll begin to look at the Classic Records Jazz reissues of several Verve and Epic titles, so stay tuned dudes and fire up those turntables.
