There has been a long history of decpetive marketing, as we are slowly finding out. I wonder if DCC used an original master tape on more than just a handful of their releases. I commend Mobile Fidelity for their Silver Series for not trying to pass these releases as being sourced from the original master tapes.
The past 10 years, as vinyl picked up popularity again, it seemed like an onslaught of companies offering "audiophile G" vinyl. I remember purchasing some, and quickly learning my lesson.
Capitol had some reissues that were wretched Heart - Dreamboat Annie. There are so many records with that common "G" gold on black sticker. One could put out a G album that was cut from a 30 years old cassette copy of your college roomate's cassette, which was 35th gen copy made at the record company factory Even with the good audiophile companies that Michael listed, one needs to check carefully.
They didn't sound right to me. In an email exchange with MFSL, they admitted the LP's were not cut from the "original masters" but from a remix provided by Yoko Ono who knows if digital was involved. So not really "original masters". If all the information is not available, there is probably a reason.
Trust your ears. A truly great article and responses. And there there are those boots with those gram gold and black stickers used by gray area companies like Scorpio. I was quite excited when I saw many of the classic blues titles from Yazoo being reissued. I bought one, a Blind Willie McTell. The source was some kind of digitally sourced, noise reduced flat sonic wash with all the life and dynamics sucked out. Yazoo appears to have nothing to do with these as their ability to coax fantastic sound out of old 78's set the gold standard on vinyl back in the 70's.
They sound fantastic to me, but note they do not say original analog masters. This is not a case of semantics and again leaves one to wonder. If they were taken directly from the original two track analog masters, I believe they would have said so. Yes I should have mentioned them as "musts to avoid. Sundazed's mistake was to not put its name on them! Readers of Audiostream. Lack of provenance and of relying on familiar "Good Housekeeping"-style labels are pervasive.
I'm reminded that not until sometime in the '70s did amplifiers advertise comparable power and distortion specs based on common criteria and that it didn't happen for car audio until the '90s. Although none of that describes sound quality it's still a help on some Pink Confusion - Yargos - To Be Or Not To Be (CD knowing what's what.
Perhaps one day the reissue and "HD" music businesses will reach a level of public conscieness that similar ad hoc voluntary, yet accurate and agreed-upon standard vocabulary and its uses will come about.
This goes way back to the original Mobile Fidelity LP's from the 70's and 80's. A look a the photos of the tape boxes that appered in the box set were very revealing. Can you be more specific here? You have made a very serious charge.
Please be more specific about your charge! Magical Mystery Tour was the specific title I had in mind when I orignally posted this. These were all sourced from Capitol submasters and not EMI originals. How many generations down they were is open to debate but MMT was definitely 4th generation.
Some of these tapes were originals, but some weren't. Some say dub tape, some say corrected copy tape etc. I'm going by mostly memory here since I've long parted with mine. It could have been a great Beatles collection but some one at MFSL back then was making bad judgement calls in regards to the eq used. But that's another story. I agree with you there! The EQ was "car stereo valley" all the way: boosted bass and treble, sucked out midrange.
Very sad. Geoff called it "rubbish" and demanded a take it off the turntable! He heard the HF boost and was outraged. Then I played him the red vinyl Japanese Odeon mono pressing and he declared that "spot on. I also really like the Japanese red mono vinyl, but mostly for the different mix. But the latter doesn't sound better IMO. Vocals in particular seem as if burlap was placed in front of the mic Whether or not the former is rubbish is open for some debate, considering the multilayered approach to the recording wasn't a purist, minimalist effort by any stretch of the imagination.
It was my first MFSL and nearly my last. Every time I played it which of course wasn't often I had to tell myself, "This is supposed to sound good. This is supposed to sound good. This is I'm reading an old thread, but just to add my 2 cents: back in the late '90s I realized Mofi did not always use original masters when I bought Clapton's " Ocean Blvd", which contained a track from his subsequent album "One In Every Crowd" right in the middle of the CD.
The only way to teach these companies that won't clearly state the source of a recording is to not buy their records. I have sent emails to Capital and 4 Men with Beards about the source of certain LPs and they never responded. And some post partial information, like on some John Coltrane reissues that have a sticker that says "Sourced by Rhino, distributed by Scorpio.
Then there are all those cheap Blue Note reissues. Why the difference? Probably different sources. I'll wait for the Music Matters reissue later this year. Sure bet. Now when I shop and I'm not sure about a title I'll ask the vendor to hold the record behind the counter for a day or two so I can do some research on sites like this. Transparency in what you buy in music is not good.
Apart from the ones mentioned, it gets really difficult to work out what sources are. Sometimes you buy something, put it on the platter and get confronted with 2 dimensional, harsh crap where you were expecting something decent. It would be worth putting an area on Analog Planet devoted to this. Put on album title, record label or company, and what the sources were for the record. Make it updatable by anyone. Anyone can go in, open a new record, and put in the info. And anyone can go in and update information.
To my knowledge, there is no such resource anywhere on the web. Most record labels don't seem keen on the idea of any kind of transparency. Unsurprisingly, if you can pass off Rolling Stones - 60's catalog reissues; 2. Compressed and terrible sounding Nirvana, Nevermind, Simply Vinyl. Digital something, and not good. Bob Dylan Bootleg Series 8, Tell tale signs; The whole set.
Great sounding, transparent, clear and full. Great sounding, good dynamics. Rolling Stones, "Rarities - ". Rolling Stones, "Stripped" double LP. No-one seems to know. Bob Dylan, "Modern Times", digital, resolution unknown. Same with "together through life". Then the labels mentioned above, steer clear of anything from Doxy, it is virtually guaranteed to be Simply Vinyl is pure chance, you never know what you get.
Sundazed always sounds good. And I'm glad you are not "digiphobic" and call them as they sound. The CD is totally compressed while the LP has lots of dynamic range and better tonal balance. I suspect Doxy is one of those labels that's sprung up in Europe to release music that's now in the public domain under EU law, which is pretty much anything pre or so, from what I understand.
That's the way it works. I think Doxy is an Italian label. They are taking advantage of the EU law that puts stuff beyond a certain age in the public domain. Their stuff so far as I know is just CDs pressed to vinyl. It is unfortunate. I see their stuff sold here in real, reputable record stores like Jecklin and other places.
People buy it under the impression it's analogue. There are a few others like that here too. Doxy have done a series of Muddy Waters box sets on vinyl for example. Great track selection, pretty questionable sound from various sources.
EU law used to be sometimes quite advantageous, for umm, unofficial releases. Heaven only knows how they got here and in the surprisingly good sound quality. There are others too. The quality on these releases has been steadily improving over the last few years.
Great article, and critical subject matter. As a newb vinyl listener largely influenced my MF articles in Stereophile, thanks! We buy the hardware and software in the hope we're avoiding the digital nasties but it would appear there's much more to this than would appear.
Having only just started to re-build my vinyl record collection, advice like this is invaluable! While I do try to chiefly hunt down original pressings of my favorite albums, the occasional re-release is unavoidable for the unobtainable.
Still, you would be hard-pressed to trump a well-kept, well-cleaned original. Great read Mikey, thanks! This is a really good article, and hopefully, along with consumer pressure, it will lead to greater transparency from reissue labels.
One concern I have is that some vinyl enthusiasts will automatically reject any reissue that has been "contaminated" by digital in any way whatsoever, which might be part of the reason labels are sometimes not forthcoming with information.
This is unfortunate because, as you note, LPs cut from hi-rez digital can sound fantastic. There are a lot of factors that go into whether an LP sounds good or not, and whether digital was involved is only one of them. Try finding a really good sounding Stones record on the London label. It's not easy! Many of them were cut at places like Bell Sound that used dupes of dupes for cutting, and they sound awful.
I'd take the DSD sourced vinyl over those any day as they are way closer to the masters unboxed Decca UK pressings are a different matter, most of those sound great if you can find them in good condition. But I know people that will refuse on principle to buy any vinyl that they know to have had its purity of analog essence contaminated by digital. That's their right of course, but I swear it's almost like a disease None of this is to excuse those reissue labels that have no interest in sound quality and simply cut LPs from commercially available CD sources.
And in the end, I believe we would be better served by greater transparency about sources Pink Confusion - Yargos - To Be Or Not To Be (CD mastering because the current atmosphere of mistrust and suspicion not helpful.
The Londons? Not so much but I wouldn't blame Bell Sound. That mastering stamp more often than not indicates a good sounding record. I suspect it was either a bad sounding tape supplied by Decca though why? Nice article, Mikey. I'd like to throw in my two cents: Avoid anything released by the Italian reissue label Get Back records. Terrible sound, terrible QC. Never again. Hey we need to bring back those goofy AAD designations that used to be on CDs, where it was implied that DDD was somehow the ideal, but now we need them for vinyl -- AAA implying pure analog recording, mixing, and mastering!
I completely agree with Mickey that it's dicey at best with remasters if the info is limited. Just a thought I have had horrible luck with new issues.
Show Newport, and It's so crackly, back it goes. I guess I have to stick with mainly used vinyl. At least I'm not as dissapointed when it is a dud.
Is best ignored even though some titles were pretty good. My understanding is that when Simply Vinyl licensed titles from EMI, the label used analog sources from its vault but other label sources are a crap shoot and mostly sound mediocre.
Apparently no one at Simply Vinyl pays much attention to sound. They are "simply" about vinyl. Same for "together through life". It sounds quite respectable. Leonard Cohens "Old Ideas" is digital, resolution unknown, but quite nice sounding.
Leonard Cohens "10 new songs" also digital. In my opinion, 10 new songs suffered a bit from some wierd Pro-tools sounding stuff. Simply Vinyl has done some Elvis reissues and other LPs. The ones I have heard are uniformly crap.
I have some Elvis gold CDs that sound better. A number most? They sound great. The Chess Masters reissue, it was done all analog by Steve Hoffman. So there might be a tape that could be used for a reissue! Didn't know there was an analogue version of Modern Times. Would be a great idea for a reissue. Use the analogue tape.
Love the record, it sounds just a tad muddy. Great sounding record!! There is a limited vinyl 12" that came out for record day with 3 or 4 versions of "Get it on", Accoustic, Electric and a boogie version! Then on the other side 3 versions of I think Jeepster. Sound is Ok, sounds digital, a bit flat. Marginal improvement over the CD. Putting on the Fly, Electric Warrior after the 12" has people bopping around the room. Whatever your take on Robert Palmers interpretation, the sound on that single is awesome.
It is HUGE. Everything is there in three dimensional space in front of you. If you're talking about the Rhino Electric Warrior, I don't know what it was cut or sourced from, but the record itself was noisy, and I was not impressed with the sound.
I wanted to replace my Reprise pressing from the eighties, and tried like heck to find any information about the Rhino pressing I could, but no luck. Bought it anyway, and wasn't super happy. I also picked up the Fat Possum reissue of The Slider, even though my copy is still in good shape. Wasn't terribly impressed with it, either. Anyone know anything about Fat Possum's reputation? If Mikey, with his connections, can't get this information, what hope is there for us? You'd think there'd be some obsessive on the internet keeping track of this stuff.
Tell ya what though, the pressings I've been happiest with have come from Quality Records. Talk about truth in advertising! Greetings, Kevin here in The City. I have to agree concerning the 4MwB pressings.
I picked up Dylan's 'No Mercy'. The vinyl is noisy and Dylan's voice is all over the place. He mainly travels from center to right. I have a couple of other artists from that label, and they're ok; nothing to write home about. After this last purchase, and your article, this will be definetely one label that I shall be avoiding like the plague. I can recommend whole heartedly and with a clear conscience to other music lovers, please, stay away from 4MwB. Great article and followup posts.
I couldn't agree more re some labels simply putting out junk copied from digital. Klik hier voor ons privacy statement. Deze site maakt gebruik van cookies. Voor meer informatie volgt u deze link. Hierop is meer te lezen over welke cookies wij plaatsen en waarom en welke mogelijke '3rd-party' cookies er bij kunnen komen. Terug naar boven. Kleiner weergeven Groter weergeven Hoog contrast. Muziekweb hoofdmenu. Zoeken in de bijzondere collectie: klassieke lp's Sluiten.
Externe links. To be or not to be Yargos. Product: 1 compact disc. Bestel-info: AFM Records Object status:. Uitgebracht: Januari Gemiddeld: nog geen waarderingen.
Tracks Muziekfragmenten van 30 seconden. The guilded cage. Peace of mind. Point of no return. A time to decide. Pink confusion. Human nature. Time drops. The summer tree 1. Full circle. Sometimes it is easier. Turn away.
Aeronautics i. Gerelateerde artikelen Canon der cultartiesten: Hanoi Rocks Bijna lukte het een band uit een verre uithoek van Europa om de populairste rockband van de wereld te worden. I am very happy having The Dear Hunter two albums.
Both are excellent. As I was totally satisfied with their debut EP, I expected the full-length album should be in a better or the same quality with its EP. I know that this was initially was a side project by Casey Crescenzo with his previous punk band The Receiving End of Sirens which later he left to focus more on The Dear Hunter.
And my expectation was fulfilled satisfactorily by the band as the music which focuses on story-telling style has successfully combined wide range of music styles and influences from The Mars Volta, The beatles, ACT, Supertramp, A. It quickly grows on me that these two albums by The Dear Hunter does fit my musical taste and I look forward to having another great follow-up album. While at the EP album Casey used as minimum as possible on session players where he asked his brother to sit on drum stool and his mom on backing vocal department; this album involves many musicians.
It can be concluded that Casey Crescenzo had put serious efforts in making the second album much more successful. The result is an ambitious music with great variety of styles and all of them flow nicely from one passage to another, from one track to another. Today, I have been listening this second album in its entirety for three times.
The album starts with a silent part under "The Death and The Berth" which flows brilliantly to a sudden blast of music under "The Procession" This second track is truly dynamic and inspiring in terms of melodies and beats. The musical riffs resulted from the combined guitar, piano and bass guitar is really mind boggling. It then flows brilliantly to the next ambitious composition "The Lake and the River" which I presumes something connected with the previous EP.
This track defines the true colors of The Dear Hunter especially in creating a combined grooves, chords, notes and wonderful nuances created. Oh by the way, the key characteristics that make the music is so wonderful is the vocal line and the flow of melodies from one passage to another.
Under "The Oracles on the Delphi Express" the band creates a "happy go lucky" kind of music with a bit of swing jazz music not really! The music sounds like a dialogue accentuated by the voices of piano and dynamic drumming. It's really an enjoyable song. It also provides a break with a music that is similar to Radiohead style even though not the same at all.
It then moves nicely to mellow part as "The Bitter Suite 2" starts mellow and with nice drumwork it moves to higher tones. It's nice, really. The rest of tracks flow beautifully from "Evicted" right way to the end "Vital Vessels Vindicate". Overall, this is an essential album. On production, the soniq quality is not as good as the EP release. Highly recommended! While I totally agree about the excellence of the latter, I only partially understand the acclaim that the former has received.
What I found in this album is very competent modern alternative rock with progressive rock tendencies. The music is very well-played and it has very interesting arrangements, but the progressive factor eludes me at times. Here, the songs are more complex, the textures are much more elaborated and the subject itself is deeper. But, in the end, the similarities are there.
The melodies are good but not great, even though at times they manage to shine. There's a sense of drama that permeates the album that helps make it a more entertaining experience. An enjoyable album that, in my view, doesn't tower over similar albums, and doesn't demand from me the high ratings that it has received from other reviewers. For now, 3 stars, but it's really a 3. Leading is the debut album from The Dear Hunter.
On Act I Casey Crescenzo was the only member Pink Confusion - Yargos - To Be Or Not To Be (CD the band and while there are other members mentioned on drums, keyboards and guitars my guess is that they are hired guns and not real members of the band. The aforementioned bands are all more or less emo but as with The Mars Volta, The Dear Hunter is far away from being a fully fledged emo band.
This can be both a good and a bad thing depending on your taste. The album lasts for minutes which can seem a bit too long and I must admit that I liked Act I a bit more than this one, but on the other hand there are no bad songs on Act II, some of them are just a bit too similar sounding. The musicianship is excellent. Casey Crescenzo is really an accomplished musician and his sidekicks also play their parts well. The production is well done. The emphasis is on the vocals but everything is clearly heard in the mix.
The cover art is beautiful and in line with the cover from Act I. I can't remember what band he said they were performing with. Sometimes it bothers me how many people seem to think that "experimental rock" and "progressive rock" are the same thing these days, so I ended up putting them off for awhile, dismissing them as another experimental rock band that was just a fad of indie rockers. One day I happened to notice that they were on PA however and ended up listening to the sample song The Lake and the River on their page.
I probably listened to it a good times in a row. The two things that surprised me the most were Casey Crescenzo's vocals and the very eclectic approach the song had. But needless to say, I was hooked immediately.
I got both this album and Act I shortly after, and both have done anything but disappoint. It's amazing how many genres have been crammed into this album.
There's definitely elements of post-hardcore since Casey was previously in the post-hardcore band "The Receiving End of Sirens"but those influences are only noticeable from time to time. There's also progressive rock, experimental rock, a bit of folk, some nice acoustic work, and what I think are some influences from Coheed and Cambria.
Although no single genre of music sticks out more than the others. This is a very eclectic album. And it touches many different emotions as well.
On one song, Casey may be shouting and belting the lyrics out to higher ranges and the music is heavy-hitting a bit lighter than The Mars Volta and in the next song, the music shifts to Casey almost whispering with some nice acoustic instruments and violins, harp, and trumpet among others. There's really something for people of all musical tastes here.
The production quality is top notch as well. Nothing I can complain about it. Really, this album is pretty close to perfect. But if there's one thing I can complain about, it's the length.
I read about how the band actually recorded minutes of music for the album, but had to cut it down to 77 because they didn't want to release a double LP. Sometimes when I listen to the album, my mind tends to drift off briefly in the second half. Regardless, this is a very talented project that Mr. Crescenzo has created and I can't wait to see the 6-part concept unfold.
Keep your eyes on this band in the coming years because they're starting to make some huge impacts. But as intro is the most suitable to set the feeling of past times. And I'm starting to be quite used to it. It's amazing, but almost all here is new.
Still new, just created by CC. Right here you can see example of how song started like something, let's call it A style. And ends with for example G. Folky like ending which remind me first album's first track. Or other tracks, they're new, but something is connecting them all. The atmosphere. Crazy piano, terrifying lyrics. Then, even loud song, isn't so significant, as next two.
Leading And Through The Dime" lyrics can quite kick you in the guts. If I understand them correctly. Name speaks for itself. This chord in the end, when lyrics "resurface again" reminds me my past. When I used to listen similar catchy tunes over and over again, till I, exhausted, fell into sleep and dreams. This is quite melodic too, at least second part of the song, but lyrical deepness is unmeasurable.
And as metaphor of sex I believe is adequate. And again, "Smiling Swine" is haunting my sense of morality. And second part, with her addicted realization about her feelings together with crazy one two three four pace, well, I'm done here.
Next tracks, like "Evicted" continues in tradition of cruel lyrics with nice, piano flavoured, drums driven I know, it's strange. While "Blood of the Rose" presents tango-like or similar dramatical dance melody with melancholic strings.
The Story continues slowly. And again, strong in feelings song. And story continues. Second masteerpiece. For story and more punk prog lovers.
For starters, "Act II" is a high-energy, vaudivilleian experience, dominated by theatrics and up- front vocals. Musicianship is quite good, but there are no "wow" moments in either solo or group playing; the direction seems to be in the total effect, rather than highlights. Songs cover lots of ground stylistically-- from big, kinetic bombast to quite, delicate, and controlled melody making. The listener is definitely taken on a journey through the course of this album, the question is: will they end up wanting to go?
The answer depends almost entirely on how much one enjoys or can endure the vocals of Crezcendo. His shouts are somtimes exciting, sometimes sloppy, and almost always uncalled for; he even belts out lyrics during the album's ballads. There is a sort of diaphramatic "ugh" that he ends phrases with which sounds very contrived, taking away some of the luster of the group's otherwise interesting instrument work.
As someone new to this style of music, "Act II" turned me off. I listened to a couple of tracks not long after I got it but put it aside because i'm not really Pink Confusion - Yargos - To Be Or Not To Be (CD this style of music. So here I am a couple of years later and after about 6 listens and I still feel the same way about it.
It reminds me mostly of MUSE maybe because of the dominant vocals in that same style. Piano and drums lead the way instrumentally but we get some harp, cello and violins helping out too.
This is a concept album at almost 77 minutes. I'm going to give this to my 25 year old MUSE fan daughter who will appreciate this more than I do i'm sure. The I was confused. Then I started to get it. Then I loved it. Now I'm confused again. This album is a gem, it really is. Casey Crescenzo is extremely talented and his talents do not go to waste.
Act two of this massive six act rock opera is a beauty, a story about a young man's exposure to lust and the bad things in life he of course only had known about the good things. After his mother died, The Dear Hunter wanted to learn more about her and went to the brothel where she worked.
He falls in love with a prostitue but can't bear living with her profession so he leaves her. The album itself is very indie but has just enough progressive elements in it to give it a nice raw-yet-complex flavor.
It stays more indie than progressive throughout the album so it sounds a little repitive. Emotional is another good way to describe the music. After having only good in life, I'm sure the bad things hit hard. I'll go ahead and give this four stars, 4. It's really wonderful when you ''get'' it but it takes awhile. After the epic musical journey of The Dear Hunter's stumbles through love, loss, and Pink Confusion - Yargos - To Be Or Not To Be (CD, the piano outro that ends the first act ends this one as well.
The boy is off to war. Report this review Posted Monday, August 9, Review Permalink Laurelles As I give this five stars, a lot of you sitting at home on your computers will be thinking "Haha, look at that imbecile.
Everything about it rings of a mixture between the classic prog rock bands of yore, and modern alternative-progressive. For example, take the excellent "The Lake and the River". One thing you'll notice about this album is the use of the piano and in this track especially, it's been played to its strength. The final part of it's a weird, but effective acoustic section with group vocals.
It's slightly eerie. One of my favourite things about this album is the production. In "Red Hands", easily one of the best songs on this album, it is both crystal clear, but creative at the same time. Pink Floyd influences are obvious in songs like "The Church and the Dime" and influences from the more modern bands are on songs such as "The Procession".
This album can satisfy any prog rock fan. My personal favourite song on the album is "Vital Vessels Vindicate". Although it sounds upbeat and jolly, it is a dark and creepy song. It has a eerie feel of war about it, even though this may not strike you at first.
Same is with "Black Sandy Beaches", one of the more melodic songs on the album. It is layered perfectly. The only thing I have against this album is that occassionally, the pop-punk, emo voice can grate on your nerves sometimes, but the concept and songwriting behind it makes up for it.
In conclusion, I would recommend this album. You probably won't like it as much as I do, but there you go. It's still a joy to listen to, concept or not. This is one of a very number of 80 minute albums that I can listen too and consider every track an absolute masterpiece. There is zero filler here; all the tracks work together and none of them are noticeably weaker than any of the others. Musically, this falls into the sort of "pseudo-prog" alternative rock genre, probably most similar to Coheed and Cambria in terms of style.
If anyone has heard Casey Crescenzo's previous project The Receiving End of Sirens that is going to be the best reference point for this, though this does, I think, have a bit more prog influence than that does.
Additionally, this is a concept album, and in fact is part of a larger concept cycle as evidenced by the "Act II" in the title. This section, I believe, has to do something with the main character "The Dear Hunter" falling in and out of love with a prostitute he meets, but even after many, many listens I am unsure as to what exactly the story here is.
That's not a bad thing, though, the music takes precedence to story, and in my opinion that's how concept albums should be. The vocals will probably not be for everyone; Casey Crescenzo sings in a very emotional, almost raw style that has far more to do with the emo and alternative scenes than with the theatrical prog vocals of the 70s.
That said, I think they are absolutely phenomenal. He is able to convey an immense amount of power and emotion in his vocals, and it works with the music and the lyrics perfectly.
Win Them Back - Tim Keegan & Departure Lounge* - Out Of Here (CD, Album), Jentends Des Mères Pleurer (I Heard The Mother Cry) - Passi - Ambersunshower - Jentends Des Mères Pl, Surrender (I Surrender To Your Underground Mix) - Clear Touch - Surrender (Your Love) (Vinyl), Demon Preacher - Demon Preacher (CDr), Weltraumtourist - Phonoboy - Pas De Temps (Vinyl, LP, Album), We Got The Funk - Various - Rap Attack (Block Rockin Beats From Sugar Hill) (CD), Elckerlijc - Ruud Bos - Elckerlijc / Mariken Van Nieumeghen (Vinyl, LP, Album), Chocolate Box - Various - Boulevard Des Hits Volume 10 (CD), Vorbei - Ket - Traverser La Rue (CDr, Album), Dreaming (Tell Me) - Yngwie Malmsteen - Trial By Fire: Live In Leningrad (CD, Album), Gaudete - Various - Now Thats What I Call Xmas (CD)