Has anyone got this 2010 copy of this brilliant  album?

How do you think it sounds stacked up against the original?

Stu.

The 180g 2007 pressing of Bob Dylan's Blood on the Tracks.

Is imo lots better than the original.

Stu.

Jay,

Speaking of Pure Pleasure, it must be title dependent.
I bought one of the worst reissue in my record buying history from them last year.

Cab Calloway: Hi De Hi De Ho

Pure Pleasure Records 180g / RCA Victor LSP-2021
Produced by: Joe Reisman Recorded in RCA Victor’s Studio A, New York City Recording engineer: Bob Simpson & Ernest Oelrich
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London ( This dude have his hearing tested )
Release date: 2010

Sound Quality:
This one doesn't get any rating. It's that bad. I can't believe original RCA Living Stereo issue is this congested and dynamically challenged. Interestingly there is no mention of where the source came from for this remaster and that it's licensed from Sony UK. This is a kind of record that makes you neurotic about your system. ( start thinking something is wrong with it )

Packaging Quality:
Certainly looks the part. A turd polishing at work.

Maybe that's also title dependent?
I've pulled out some of the SV records I have and compared them to the original US pressing. ( albeit I doubt that they are first pressings)

Jeff Beck: Blow by Blow

Symply Vinyl 180g / Limited Edition LP/SVLP 371 UK
Re-mastering by: ? ( Unless I missed it, no credit given )
Release date: 2003

Sound Quality:
I don't have the original pressing to compare to but I happen to have another Simply Vinyl copy of the same album from the same lot number as the dead wax info is the same.

Oddly, tho, there is a production flaw on one of the album where there are some odd discolouration on the vinyl. This one doesn't sound as good as the other. Shouty congested upper midrange. Not as open sounding as the other one. Surface noise on both copies are excellent. I realise that there will always be a greater sample variance on vinyl but a good company like Classic Records or Analogue Production, the sonic consistency might be better.

Packaging Quality:

Comes in a heavy-weight vinyl pouch with a seal. Excellent printing quality. No liner notes.

Roxy Music: Avalon

Symply Vinyl 180g / Limited Edition LP/SVLP 311 UK
Re-mastering by: ? ( Unless I missed it, no credit given )
Release date: 2005

Sound Quality:

This pressing fairs better in distortion than the Jeff Beck above. But then I've an original US pressing (1-23686 ) which sounds rather pedestrian. ( I bet UK original pressing is better ) So comparatively this SV reissue is quieter, has a better dynamic reach/extensions and have more focused presentation. I feel that there is a room for improvement tho.

Packaging Quality:

Comes in a heavy-weight vinyl pouch with a seal. Excellent printing quality. No liner notes. No original Label.

Boz Scaggs: Silk Degrees

Symply Vinyl 180g / Limited Edition LP/SVLP 073 UK
Re-mastering by: ? ( Unless I missed it, no credit given )
Release date: 2005

Sound Quality:

My US original pressing (Columbia PC 33920 ) is noisier and has less frequency reach but sounds a lot more natural than this SV pressing. Compartively this reissue sounds artificial as if someone just went in there with a magic wand and cleaned up too much 'soul'. The same kind of cleaning up is often heard on many other reissues, too where the original seems to have a lot more natural feel and tactile presence. Not this one. But at least distortion free.

Packaging Quality:

Comes in a heavy-weight vinyl pouch with a seal. Excellent printing quality. No liner notes. No original Label.

Originally Posted by Gale 401:

Has anyone got this 2010 copy of this brilliant  album?
How do you think it sounds stacked up against the original?

I've a Court and Spark-O-phile friend who has listened to most of the releases and tells me that his current reference is your UK original pressing. (Asylum – K 53002 ) Altho, this was before the Rhino reissue came out so not sure what his standing is.

Joni Mitchell: Court and Spark

Rhyno Records: Asylum/Rhino R1 1001/ US
Mastered from the Original Analog Tapes / 180g Virgin Vinyl
Mastered by: Chris Bellman at Bernie Grundman Mastering

Pressed at: RTI
Release date: 2009

Sound Quality:
I thought that the title tune on this album will never sound that great as all the copy I have heard to date has that strange colouration on Joni's voice. Well, this pressing still has that but now Joni's voices sounds more real. This is one of the very well done reissue and excellent mastering job by Bellman and pressing at RTI. I was pleasantly surprised that Bellman squeezed more out from the oringal tapes. ( they must be in pretty good shape as I can't say the same with his Van Halen '1984' Reissue )

Now I haven't heard the DCC vinyl (only have their CD ) which is the Holy Grail of the Court and Spark but my friend tells me his UK pressing is better. I have heard it on his rig but never ABed with this copy so hard to say. Gorgeous voice and very natural midrange I recall. It was better than my US original pressing (Asylum-7E-1001 ) for sure.

Anyway, it's priced fairly at under 30$USD and I am very happy with this copy.

Packaging Quality:
Faithfully duplicating the original embossing on the gatefold jacket. The paper stock nice and heavy as the orignial and thicker spine. Another nice thing is that they have duplicated the original label on the vinyl albeit typo is fixed and the release year matches the jacket.

Well a good Simply Vinyl reissue is their 2011 version of John Martyn's Solid Air (I have no idea what the late 90s version was like). Rather better than my friend's late 70s edition. Excellent pressing too.

Having said that, I find the Nick Drake issues from the late 90s fine. Not boring at least, and much easier on the ear than the Japanese issues of a couple of years ago.

The only Simply Vinyl I had were Velvet Underground (banana) and Man Who Sold the World. The packaging was beautiful but the records lacked something.

I'm sorry to learn that the Acoustic Sounds NightBeat is a George Marino mastering since he is mastering a bunch of other stuff for QRP that looked promising. Oh well.

Other reissues I liked was Elvis in Memphis (I think Speakers Corner).

Kuma, I'm sorry about the Pure Pleasure Cab Calloway. I have good luck with their blues titles.

Jay

I haven't yet made any mention of the Alto/Speakers Corner reissues.  Of the London/Decca SXL/CS reissues, overall, mostly very good to excellent.  Compared to mint originals, apart from a lower noise floor and generally better vinyl in the reissues, I'd say the originals have "something" to them that makes them quite compelling.  The SC reissues aren't quite up to the same level of the Classic Records RCA reissues.  However, it seems there has been something of a learning curve at SC, with later issues being better than the very earliest.  The most recent Mercury Living Presence issues being particularly impressive. 

But if we go back to one of the very first issues, we come across a right old clunker;Maag's Mendelssohn Scotch and Fingal's Cave on SXL2246.  More the shame because this is not only one of the truly great Decca recordings, but also one of the very finest performances on record of both pieces.

This was one of the first Alto/SC releases and I recall my great anticipation at its release.  I had an early wide-band original, but somewhat the worse for having been played a great deal.  I also had a pair of the early Ace of Diamond re-releases, both of which interestingly seemed to share the same stampers as the wide-band original.  On these I knew just what a fantastic recording this was.  If the modern reissue could improve on this, then it would be very special indeed.

Sadly, from the opening few minutes of first play of the reissue, something was definitely wrong.  It sounded all so flat and homogenised, as if the disc had been sloppily cut from a copy tape with a distinct lack of transparency.  I feared a problem with the cartridge or turntable.  Maybe the VTA was out, but then the original vinyl was at least 140g and a move to 180g would not account for so different a performance.  Anyway, VTA adjusted, I set about to listen again.  No better.  A quick check against one of the AoD issues and the bloom and life of the performance returned.

It's a good thing I ordered a few others at the same time, otherwise this one disc could have put me off the whole Alto/SC reissue series.  Consequently I did hear that SC acknowledged issues with their reissue of SXL2246.  I believe there was talk of a re-cut and re-release, but once burned...  I'm very happy with the AoDs. But if anyone here has bought a later SC issue of this one, I'd be interested to hear your opinion.

As for the music, this is one of my classical desert island discs.  It's well served on CD too, with a very nice mid '90s Decca Classics release for not much money, and a number of fancier later releases.  The original wide-band tab-back in mint condition goes for big money.  The early grooved AoD sounds pretty much identical and can be found for £15-30.  It remained in the AoD catalogue into the '70s so you can also find later pressings, also very good indeed and available for £5-10.

Thanks for the reply Martin.
I also find Japanese reissues to be hit and miss ( more misses than hits so far )

Mozart Symphony No.40: Böhm/Berliner Philharmoniker

Nippon Grammophon: SLGM-1093/Japan
Mastered from ? / Virgin Vinyl
Mastered by: ??
Pressed at: ???
Release date: ?

Sound Quality:
This is a Japanese reissue of DGG 138 815. I don't have the Tulip label original German pressing but comparing it to even a later Italian reissue, the sound quality on this issue is poorer with less clarity and higher self noise on record. Tape hiss noise is higher on this pressing as well. With an overall balance of truncated transients and laid back hazy view, the music is served on a Jell-O plate. What on earth did they do to the original tape? ( or lack of )

Packaging Quality:
Poor 4 colour printing with registration problem in black type. ( tell tale sign they didn't type set the cover ) Instead a cheezy redo of the original DG cover.

Herbie Hancock: Maiden Voyage

EMI Music Japan: TOJJ-6509/Japan
Mastered from Original Master Tape/180g Vinyl Stereo
re-Mastered by: Rudy Van Gelder
Production Blurbs: Toshiba EMI celebrated the 100th anniversary's Blue Note founder Alfred Lion's birthday by releasing the definitive vinyl editions of 20 Blue Note classic albums. Their common features guarantee superb sound quality:
* Remastered by Rudy Van Gelder using the best available master tapes
* Lacquers cut by legendary Japanese cutting engineer Toru Kotetsu of JVC ( Nippon Victor )
* Pressed in the state-of-the-art pressing plant in Japan on 180 gram high quality vinyl
Release date: 2008

Sound Quality:
Acoustech 45rpm reissue (AP-84195) pretty much massacres this Japanese reissue. That said, this issue is a lot better than recent budget reissues which have too much distortion with forward opaque balance.
Older Blue Label reissue actually has much similar balance to the Analogue Production 45s albeit it does not give that extra *presence* that those 45ers give. This RVG edition was a disaster on the CD reissue but it still retains a high tape hiss and less natural balance. I've a feeling that this record was better off without Rudy's remaster. I am pecimistic enough to think that they deliberately left in the tape hiss noise to add the feel of *authenticity*.

Packaging Quality:
Sturdy laminated outer. Record is housed in plastic inner. No *deep groove* duplicated. Japanese liner notes and a useless obi on jacket.

Ella Fitzgerald: Ella in Berlin

Universal Music K.K.: Limited Edition UCJU-9079/Japan
Mastered from Original Master Tape/200g Vinyl Stereo
Production Blurbs:The lacquers were cut in New York by Joseph M. Palmaccio,the former chief engineer of Polygram Recording Studio, using the original analog cutting master tapes and the Ampex ATR-102 tape machine. The lacquers were then sent to the state-of-the-art pressing plant in Japan where they have the best quality control in the world. As typical of Japanese productions, the original jacket designs were faithfully reproduced as well.
Release date: 2009

Sound Quality:
This title is one of the few I actually have the both original mono and stereo issues. The reissue is unfoturnately done in stereo where I think the mono pressing is way better in terms of overall balance ( much more natural! ) and presence in spite you do not get much spatial information. This reissue offers a lower noise floor and more kick on the bass drums, air around Ella's voice but laid back perspective and thinner overall tonal balance. Everything sounds a bit artificial and not real. ( Unlike the Herbie Hancock reissue above, this one is squeaqy clean and sucked the life out of it)
So for now, even my original mono is noisy, I prefer to listen to that one. Funny tho, at the house party I played both copies and most civilians ( non audiophiles ) instantly preferred the original mono.

Packaging Quality:
Good printing quality in a heavy cardboard cover. Liner notes and lyrics sheet so you can sing along 'How High the Moon' with Ella! Annoying Obi. ( only matters for collectors )

Could someone care to compare the original mono to the Acoustech 45rpm Reissue?

Hi, this question is slightly off thread but could anyone explain why 45rpm re-issues are considered superior to standard 33/3rd issues. Is it something to do with master tape speeds?

Regards

Graham 

Unlike Japanese record shops which seems to almost exclusively hits! Disk Union even had a set of JBL Paragons last time I was there.

Anyway, talking of Joni Mitchell, Rhino's reissue of Blue is superb. Easily the best version of this marvellous album I've heard. Much better than the (now) expensive gold CD. Joni's vocals and duclimer playing are beautifully rendered. Mine is a US pressing. I don't know if the European one is as good,

And from the sublime to the rediculous....Frankie Goes to Hollywood - Welcome to the Pleasuredome. Excellent pressing quality of what's basically a bunch of 80s hits by Holly Johnson with Yes and the Blockheads as the backing band. With the exception of the Relax, the sound quality is what you'd expect of state-of-the-art 80s production. One slight fly in the ointment is that 80s state-of-the-art is a early PCM 3324 digital recording. Still, its a good one. Relax is recorded in analogue and sounds amazing....

I hate to agree with Richard again but that Maag is a wonderful piece (really, any Maag is wonderful). There is a London blueback (which I thought I had and can't find!) as well as the Decca and a London Treasury. There is also an ORG reissue. Does anyone have experience with them?

I also agree with Richard that the Speakers Corner/Alto Decca reissues are generally quite good.

I have been listening today to some Classic Records Blue Note reissues, which are superb: Hank Mobley, Hank Mobley, Lou Donaldson, Takes Off, Jackie McLean, Swing, Swang, Swingin'.

Originally Posted by Richard Dane:
But if we go back to one of the very first issues, we come across a right old clunker;Maag's Mendelssohn Scotch and Fingal's Cave on SXL2246.  More the shame because this is not only one of the truly great Decca recordings, but also one of the very finest performances on record of both pieces.



This was one of the first Alto/SC releases and I recall my great anticipation at its release.  I had an early wide-band original, but somewhat the worse for having been played a great deal.  I also had a pair of the early Ace of Diamond re-releases, both of which interestingly seemed to share the same stampers as the wide-band original.  On these I knew just what a fantastic recording this was.  If the modern reissue could improve on this, then it would be very special indeed.

Richard,

How lucky you are to own the original UK Decca! I haven't even seen one in captivity let alone listening to one. AoD is also harder to source here in the US. Easier to find around here would be the London Stereo issues with Stereophonic logo on upper left corner. Those actually sound pretty good with still a cool cover art.

Thanks for your interesting comment. I will stay out of that reissue. I bought a bunch of Speakers Corner Reissues right around the Christmas but I haven't had chance to listen them yet.

Looks like they took that record off their catalogue. I only see Maazel's DG reissue of No.4 & 5.

Do you remember the original release date on this record?

There is a limited edition Bernie Grundman/RTI 45 RPM reissue from ORG is available now.

I don't have many Mendelssohn record. The only Scotch I have is the Angel US issue with Kletzki/Israel Philharmonic which is rather flat sounding with very limited frequency range so not sure of his direction. I will keep my eyes open for Maag version. ( I was going to get his later one with Orchestra Madrid or Kurt Masur with Gewandhaus version but haven't got around to it )

Graham,

You have to take it with a grain of salt because this is cut'n'paste from Acoustech's website:

From Kevin Gray:

Why 45, you ask? Because it sounds better! In record mastering, the higher the recorded level and frequency, the greater the groove curvature. Curvature isn’t usually a problem, per se, on the outside of a 12” 33 1/3 record, but as the groove moves toward the center, its relative speed slows down and curvature increases. Yes, it is still turning at 33 1/3 revolutions per minute, but consider: one revolution takes 1.8 seconds. That 1.8 seconds at a 12” diameter is covering a lot more territory than at the minimum 4.75” diameter. The result is actually a loss in high frequencies, and increase in distortion as the groove moves to the center. The problems start when the curvature of the groove equals or exceeds the diameter of the playback stylus. What can be done about it? Many things have been tried, but there is no “magic bullet”. Keep the recorded volume to a reasonable level (read: On scale on the meters) is the first thing. Play the record back with an elliptical or line-contact stylus that has a smaller tip radius. And, if possible, make the record short enough to keep the music away from the very end of the disk. This isn’t always possible, of course.

BUT, if we spin the disk at 45rpm we now have a 35% increase in groove velocity at any point on the disk. This is a huge advantage! Yes, the groove still slows down as it moves inward, but the effects are greatly reduced. The only problem is that the amount of recorded time is now also reduced by 35%.

45rpm LP's do sound great.

But the constant getting up and down to turn and change records spoils my listening.

The same goes for classical music on LP's

I would rather listen to a classical CD and get right into it, without having to get up and turn it over half way through a master piece.

Stu.

Martin,

If your Blue copy has this sticker, it's done by the same folks and the same plant ( Gray/Hoffman/RTI ) as the Court and Spark so I expect it to sound fabulous.

I am hoping they'll do my all time fave "Hejira".

Kuma,

there's basically no difference between the early London CS, Decca SXL, AoD (ADD) and London Stereo Treasury (STS) pressings.  If anyone tells you there is, they're probably selling something (most likely old LPs).  Yes, although the earliest STS or ADD pressings usually used an original mother or stamper, Decca were good on their QC for these and so any losses due to wear would be minimal.

I have a number of early SXLs along with the very same London CS issue.  They are the same.  Some said that the Londons were cut a bit "hotter".  It's not true.  Only the US Phase 4 releases were different.  If there's any difference at all it's that the London issues were most often pressed using the old mono presses.  These had a flat outer edge and lacked the same groove around the inner label.  They're usually called Pancake Pressings.  I've never seen an SXL Pancake except as part of a multi-disc set.

Take, for example, Argenta's Espana on SXL 2020.  I have a mint original, the London CS (pancake),  all the later Decca reissues, plus the Speakers Corner reissue.  Not to mention all the various CD versions.  Between them there's almost nothing to choose between the early pressings. The later ones are a touch cleaner with a bit less bloom - some might argue they're the best of the lot.  The SC is very good, if slightly homogenised compared to, say, the '70s AoD issue.  But all have such wonderful music, any attempt to compare sonically is pretty much doomed from the moment the stylus hits the vinyl...

Thanks for the heads up on the 45rpm release.  Unfortunately I just don't see the point of these.  Fine if sound is your over-riding priority, but just too much of a pain and very disruptive.  The 33.3 LP though is just perfect, splitting each side into a nice 20 minutes or so.

In most cases.  Maybe all but one.  Icky Thump.  HORRIBLE!!!!!!!!  I guess he made a comment about not being able to polish a turd, or something to that effect.

And if he has ANYTHING to do with Stadium Arcadium, her should be ashamed for that one as well. 

Nobody is perfect.  But he is close.  I enjoy much of his work and look for DCCs, AFs, Razor and Tie etc CDs at any "skuffs" bin I come across. (along with Atlantics for Diament's work).

-patrick

Richard,

Hard to believe that the sound quality of all these three would be similar.

Decca SXL ( Original )

London CS
I've a few of these and found out that the ones with Stereophonic logo on the left corner sound better than the ones without it. There are a huge price difference between the SXL and these. I love the cover design on these London CS series.

London STS
I've a Wilhelm Kempff's Chopin Vol. 1 in STS which overall it's ok but the pitch is slightly wobbly on this record. ( it is mint with no visible wear anywhere ) Not sure exactly how old this pressing. What do you consider as earliest STS? When did they come out with this series?

I've a several London monos and you are right. Many of them are not very good at all with a lot of distortion and flat albeit there are a few exceptions.

Here's another turkey London. But it's stereo. This one isn't cut hot but just lacklustre.

But then this Curzon/Szell Brahms is a rare example of good sounding original London CS I have.

Speakers Corner makes a reissue of above so would be interesting to compare but I'm not so motivated as I am not nuts about the performance or the score itself.

Good Lord, you are a hardcore~

It has got to be title based as it seems there's always an exception.
Then 70s London releases ( not reissues new release ) I find them inconsistent sonically so far.

No sticker, but it does have SH/KG @ ATM in the dead wax, hence is a Steve Hoffman/Kevin Gray mastering. Their Hissing of Summer Lawns (strangely this is the Speakers Corner, not the Warners version) is good too. Yep, I'd like Hejira.

Martin,

What does ATM stand for?

Certainly not an Automatic Teller Machine is it.

Kuma,

AcousTech Mastering. Now closed.

Martin

Kuma,

much will depend on who did the cut - last letter of the deadwax code.  If all all deadwax codes are the same, then wear notwithstanding, London and Decca should be the same.  They were, after all, pressed together at the same time.  Indeed, I have a couple of these:

Both are mint original full laminate tab-back blue-backs, except one of them accidentally had a London CS disc and inner put inside at the Decca factory.  I know this because the original owner told me that's how he bought it when new. He was given a replacement and allowed to keep the London.  That's how I got them. It's also not the only case where this happened.  Anyway, deadwax codes on both are identical, both are in equally fine condition, and I honestly couldn't tell any difference between them.  More to the point (of the thread), the Speakers Corner reissue of this one is highly recommended and a lot cheaper than trying to find a mint original!

Do any of you have any thoughts on the vinyl remasters of this brilliant album by John Lee Hooker?

I have the original.

I have not heard the double or any of the Red box set of single side 45rpm Classics pressings that came out in 2009/ 2010.

My fav is still the AMOEBA record store copy Peter  bought and brought back from the usa for me a few years ago..

Heavy Weight Classic Records QUIEX SV-P Super Vinyl Pressing.

$28.98

Stu.

My friend Jay Coleman mentioned this thread and I have recently started following it.  Tonights listening session prompted me to post.  Add MOFI to my list of bad reissues.

I was able to track down an original copy of Beck's "Sea Change" which is considered to be an impressively recorded album.  Many have ranted on about the MOFI reissue which recently hit.  Sorry however the original just wipes the floor with it. 

Gregg

PS  had the same experience with the first Elvis Costello album on MOFI - not too impressed.

Gregg,

I have a DGC double vinyl pressing of Sea Change its wonderful.

I also have Beck! Odelay,

 The 4 disc Delux Edition 32 tracks includes B-sides,Remixes,

and Previously Unreleased Tracks.

180 Gram Audiophile Vinyl Mastered at Bernie Grundman Mastering box set.

Again its wonderful.

Stu.