100 Recommended All-Analog LP Reissues Worth Owning

Here's 100 recommended all-analog LP reissues worth owning. The video runs two hours so unless you are masochistic, you might want to watch in shorter segments but covering 100 LPs took time! Plus there are the usual fun stories interspersed throughout. Okay, I got wrong the The Who's "Tommy"'s original issue date (I said November '68, was May '69) otherwise all of the information should be correct. Yes, too many superlatives, but that’s video!

Note: A reader informs that the Uncle Meat is not AAA. Sorry. Also while I thought the stereo Axis: Bold As Love UHQR was sold out, it is not. There are still some copies left. Had I know, it would have been on this list. Also, The Nat King Cole Story box is MIA on the video.

1) Ellington Masterpieces (Analogue Productions)
2) Duke Ellington: The Feeling of Jazz (Deluxe ORG Music) )
3) Duke Ellington: Indigos (IMPEX) )
4) The Sound of Jazz (Analogue Productions) )
5) Art Blakey: Night in Tunisia (Music Matters SRX vinyl) )
6) John Coltrane: Blue Train (Music Matters SRX vinyl) )
7) Eric Dolphy: Out To Lunch (Music Matters) )
8) Larry Young: Unity (Music Matters) )
9) Coltrane’s Sound (ORG Music) )
10) Sonny Rollins “The Bridge” (ORG Music) )
11) Ornette Coleman “The Shape of Jazz.. (ORG 2 45) )
12) Wynton Kelly: Smokin’ At the Half-Note (Analogue P.
13) O. Peterson Trio: We Get Requests (Analog Prod.) )
14) D. Brubeck Quartet: Time Out (Analogue Prod.) )
15) Sonny Rollins: Saxophone Colossus (OJC)
16) Gerry Mulligan and Ben Webster (ORG) )
17) Kind of Blue (Mobile Fidelity) )
18) Miles Davis “Sketches of Spain” (Mobile Fidelity) )
19) Miles Davis “Nefertiti” (Mobile Fidelity) )
20) Miles Davis In A Silent Way (Mobile Fidelity) )
21) LeGrand Jazz (w. M. Davis) (IMPEX) )
22) Gil Evans & Ten (Analogue Productions) )
23) The Individualism of Gil Evans (Speakers Corner) )
24) Charles Lloyd: Forest Flower (Speakers Corner)
25) Desmond/Mulligan: Two of a Mind (ORG)
26) A. Blakey’s Jazz Messeng W. Monk (Analog Spark)
27) Paul Desmond: Desmond Blue (Analog Spark) )
28) The Monty Alexander Trio: Montreux Alex. (MPS)
29) John Lewis&Sacha Distel: Afternoon in Paris (Sam) )
30) Chet Baker and his quintet with B. Jaspar (Sam) )
31) The New Standard: Saft, Swallow,Previte (R.Noise) )
32) Jerome Sabbagh: The Turn (Bee Jazz Records) )
33) Yuko Mabuchi Trio Vols. 1&2 (Yarlung) )
34) Armstrong/Fitzgerald: Porgy&Bess (Sp. Corner) )
35) B. Holiday: Songs For Distingué Lovrs (Analog Pro) )
36) Ella Fitz. Sings the C.Porter Songbk (Analog Spark) )
37) Ella Fitzgerald. Ella Swings Lightly (ORG) )
38) Cassandra Wilson: Belly of the Sun (Pure Pleasure) )
39) Cassandra Wilson: Blue Light ‘til Dawn (P. Pleas.) )
40) Ray Charles and Betty Carter (Analog Productions) )
41) Johnny Hartmann: Once in Every Life (Analogue P.)
42) Dean Martin: Dream With Dean (Analogue Prod.)
43) Tony Bennett: At Carnegie Hall (Analogue Prod.)
44) Nat King Cole: Love is the Thing (Analogue Prod.)
45) Harry Belafonte at Carnegie Hall (Analogue Prod.)
46) Peggy Lee: Is That All There Is? (Pure Pleasure)
47) Joe Jackson: Night and Day (Intervention)
48) Judee Sill: Judee Sill (Intervention)
49) Gene Clark: White Light (Intervention)
50) Stealers Wheel: Ferguslie Park (Intervention)
51) The Flying Burrito Bros: Gilded Palace (intervention)
52) Jefferson Airplane: Surrealistic Pillow (mono): Mo-Fi)
53) Grateful Dead: American Beauty (Mobile Fidelity)
54) Aretha Franklin: Aretha’s Gold (Mobile Fidelity)
55) The B. Boys: Pet Sounds (mono) (Analogue Pro.)
56) The B. Boys: Surfer Girl (stereo) (Analogue Pro.)
57) Elvis Costello: My Aim Is True (Mobile Fidelity)
58) Elvis Costello: Get Happy (Mobile Fidelity)
59) E. Costello: King of America (Mobile Fidelity)
60) The Crickets: The Chirpin Crickets (Analogue Prod.)
61) Buddy Holly: Buddy Holly (Analogue Productions)
62) E. Presley: Stereo ’57 Essential Elvis (Analog Prod.)
63) Jimi H.: Live at the Miami Pop Festival (Exp. Hend.)
64) Jimi Hendrix: The Cry of Love (Experience Hendrix)
65) Van Morrison: Astral Weeks (WB)
66) Van Morrison: Moondance (WB)
67) Bob Dylan: Blonde on Blonde (Mobile Fidelity)
68) Neil Young w. Crazy Horse: Everybody Knows (WB)
69) Neil Young: After the Goldrush (WB)
70) Neil Young: Harvest (WB)
71) Carole King: Tapestry (Mo-Fi or ORG Music45)
72) The Band: The Band (Mo-Fi)
73) Love: Forever Changes (Rhino)
74) Joni Mitchell: Blue (WB)
75) Joni Mitchell: Court and Spark (WB)
76) Eric Clapton: I Still Do (Surfdog)
77) The Mothers of Invention: Uncle Meat (Zappa F.)
78) The Moths of Invent: Burnt Weenie Sand. (Zappa)
79) Cat Stevens: Tea for the Tillerman (Analogue Prod.)
80) Gillian Welch: Soul Journey (Acony)
81) Gillian Welch: The Harrow & The Harvest (Acony)
82) Janis Ian: Breaking Silence (Analogue Productions)
83) Peter Paul & Mary: Peter, Paul & Mary (ORG)
84) Shelby Lynne: Just A Little Lovin’ (Analog Product.)
85) Dusty Springfield: Dusty in Memph (Analogue Prod.)
86) Phoebe Snow: Phoebe Snow (Analogue Prod.)
87) Samantha Crain: Under Br. &Thorn&Tree (Ramseur)
88) Son House: Father of Folk Blues (Analogue Prod.)
89) Muddy Waters: Folk Singer (Analog Prod.)
90) Ry Cooder/V.M. Bhatt: Meeting By River (Analog P.)
91) Unpopular Music (Various Artists) (Gearbox)
92) OST: TRON (Audio Fidelity)
93) OST: West Side Story (Analog Spark)
94) OST: A Fiddler on the Roof (Analog Spark)
95) D2D: C.Teal Trib. to Ella Fitzgerald (Chas. Dragon)
96) D2D: Syd Lawr. Orch: Big B. Spect.! (Chas. Dragon)
97) BOX: The Kinks The Mono Collection )(Sanct)
98) BOX: Buff. Springfield: What’s That Sound (Atlantic)
99) BOX: Jimi Hendrix: Electric Ladyland (Exp. Hendrix)
100) BOX: The Nat King Cole Story (Analog Productions)

COMMENTS
azmoon's picture

..but no Bob Dylan? What about all the MFSL issues? And no Bill Evans? What about the Hoffman/Gray remasters of these?

I have many on this list but would recommend many Dylan MFSL and Evans all analog remasters over many of them.

azmoon's picture

I now see Blonde on Blonde. But just one Dylan?

Michael Fremer's picture
You need to do your homework and watch the video!
Ivan Lietaert's picture

I live in Europe. Can these recordings be bought on ye ol' continent also?
Buying in the States and paying import duties is such a big let down.

ViciAudio's picture
Ivan Lietaert's picture

Thanks! Very impressive indeed! I'm checking them out already!

Ivan Lietaert's picture

I love it because the have a category 'European releases'!

lefos's picture

vinyl gourmet they are so expensive like they steal your money...
specially the orders from usa are cheaper when you order them from abroad incl. the taxes and the shipping costs

SoundWave's picture

Vinyl Gourmet for me it’s definitely cheaper than ordering from the USA, or similar cost at worst case scenario... I guess it depends on what items you order and where you are. In any case you always get stunning high quality service and perfect packaging!

MalachiLui's picture

did you steal the "SoundDoctor" username that I use on the Steve Hoffman Forums? If so, not cool. But if you came before me, then fine.

But I do not like impersonators...

SoundWave's picture

... MalachiLui I had no idea, totally unintended, sorry if it caused any issues. I'm sure we're not the only "SoundDoctor" on the web ;) I can change this user name, it's not important for me, never used it before, the name just popped in my head when I registered here.

MalachiLui's picture

I also sent you an email about this so we can figure it out if you can't change the username on your end.

Holony's picture

Another great shop in Europe is www.jpc.de. They are less specialized in audiophile records, but they have a very good selection. Plus shipping costs are low.

Holony's picture

Analogue Productions is listed as Acoustic Sounds for instance and they have 360 titles: https://www.jpc.de/s/Acoustic+Sounds?searchtype=label. The site is not as well documented as Vinyl Gourmet, sometimes it can be tricky to identify which version it is.

ViciAudio's picture

Getz/Gilberto reissue from Analogue Productions is stunning and must be on any Top 100 AAA reissues list, I'm sure you agree Michael :)

Glad to see Samantha Crain on the list, great album and great sound.

Chemguy's picture

Great list! No Beatles mono box?

vinyl listener's picture

:)

Chemguy's picture

...in the video? Because it’s not indicated as a stipulation above.

vinyl listener's picture

the video is titled "100 All Analog In Print Reissued Records You Should Own"

Michael Fremer's picture
Not currently in print, which is nutz
Ortofan's picture

... those all-analog classical music LP reissues that are worth owning?

Ivan Lietaert's picture

I'll take advantage of this post for asking for help.

My system is pretty basic: a TubeCube 7 (a 3.5 Watt tube amp) with Klipsch RP160M bookshelf speakers and a Pro-Ject essential III turntable with external phono stage. I don'use a sub. No equaliser either. So it pretty much plays the music as it was recorded.

From time to time I come across recordings with remarkable, pleasant quality in the low frequencies. Probably my best sounding record is Neil Young's This note 's for you, especially the tracks Coupe de ville, Can't believe your lyin' and One thing have formidable bass. (On vinyl it is even better than when streaming.) I'm not saying this record should be in the Top 100. I'm just saying it is the best sounding vinyl record in my (humble) collection.
Why don't all records sound so fine? What makes this vinyl disk so special?

My record is an original pressing dating back to 1988, by Reprise Records. I bought it when it came out, as far as I remember. It was manufactured in Germany. I made the effort to write down the scribblings on the vinyl.
This is what it says:

RC [both letters inside a S lying vertical] R/S Alsdorf 925719-1-A
(I-25719 A-SR3) (SP-W GER 6) TML
What is between () is in handwriting.

Perhaps there is something in the codes above that explains why this record sounds so good? If so, please let me know.

Michael Fremer's picture
ALSDORF is/was a German pressing plant. TML stands for "THE MASTERING LAB" and that record was most likely mastered by the legendary, now deceased DOUG SAX. If you see TML on a record, it usually means it will sound as good as that record will ever sound.
francisalbert's picture

Another great video Michael - one of the best sounding reissue recordings I have in my vinyl collection is Booker Ervin’s recording - That’s it ! Purchased on you’re recommendation . a Pure Pleasure reissue of a Candid label recording . Fabulous performance and sound .

redchaser's picture

Thank you Micahel. I'm often a bit gun shy on current re-issues after having been burned on a few incredibly aweful pressings from dubious labels. Your list will be most helpful, in fact it will by my "shopping list" of sorts for a while.

Rashers's picture

Great list Michael. I have found that everything mastered by Kevin Gray at Coherent is exceptional, particularly the Analogue Productions Prestige reissues. I did not realize that the Van reissues were AAA - it would be really nice if someone could come up with a master list as the vast majority of reissues, I presume, are from digital sources.

LostArkitekt's picture

Great List...but I think a seminal album that wasn't included is Grant Green Idle Moments, and you'd have to have the Audiophile version of it. I bought the regular Blue Note reissue, and I went through 4 copies that were all new...and all garbage. They look like some kid had them since the 60s and took nominal care.

Anyway, I really think that album is amazing, but I'm looking forward to getting a bunch of those. I have the MOFI (MFSL) version of Joe Jackson's Night & Day. I know it isn't in print any longer, but do you feel the Intervention version is as good or better?

gmeese34's picture

When I see some of the Analogue productions stuff is “backordered”, does tha basically mean “out of print forever”? Example- Blue Train

Michael Fremer's picture
The Music Matters is in print. Not sure if AP still has a license
randybass's picture

77) The Mothers of Invention: Uncle Meat (Zappa F.)

is not Analog. It was cut from 24/96 because due to original tape damage they hodge-poged a composite digital from multi sources. It does sound wonderful though.

Michael Fremer's picture
My mistake.
recordhead's picture

Watch a two hour movie (chick flick) with my wife or a 2 hour you tube video on records? Tommy sounded fantastic! I'd love to have another 2 hour video on random records from your collection and the stories behind them.

PS: wife is pissed.

elliotdrum's picture

Duke Ellington Orchestra
Nutcracker Suite on
Pure Pleasure Records
Fantastic Music
Fantastic Sound!!!
Thank you so much

darthlaker's picture

Your comments on video in regards to the microphone drop during the Neil Young song reminded me of your review of the brilliant Vandersteen Sevens:

"When John Atkinson came over to measure the Sevens in situ, I played him Neil Young's "Out on the Weekend," from a new edition of Harvest on 180gm vinyl (LP, Reprise). At one point, in the right channel, someone knocks over a microphone stand. When the song ended, John Atkinson, who'd heard this track many times but had never before heard the noise, asked about it. I'd known about that mistake and had heard it through other speakers, but through the Sevens it was obvious, unmistakable, almost three-dimensional."

Read more at https://www.stereophile.com/content/vandersteen-model-seven-loudspeaker-...

ATL-Trav's picture

Unfortunately, that Costello title has been out of print for about 3 years. It is fantastic, however. i'm surprised not to see Diana Krall (Live in Paris) or Melody Gardot (My one and...) on ORG.

ATL-Trav's picture

Ugh, sorry should have clarified.

RinziRadio's picture

Really looking forward to watching this. BUT it would be great to see what your classical choices would be. I know you don't consider yourself to be a "classical expert", but who cares? In fact that is precisely the reason your opinions would be interesting. Obviously there are the usual suspects (Living Stereo, Mercury -- and I happen to prefer the Classic Records reissues to the AP versions) but maybe there are some less obvious ones too. BTW there are some recent Speaker's Corner LPs that are fantastic, like the John Barry selection.

RinziRadio's picture

So I finally watched this -- the 2 hours flew by -- and clearly this is going to cause serious damage to my wallet, and saw that you are going to do a classical list. Looking forward to what you come up with. I do have a question re. the Mobile Fidelity Miles Davis reissues. I have all the old Mosaic LP sets, so have hesitated to further invest in the MoFi versions. How do you think the two compare? Thanks.

astoler's picture

Michael, first thank you for the list and all your other contributions. But I have to disagree on one item.

26) A. Blakey’s Jazz Messeng W. Monk (Analog Spark)

The reason is that the bass is basically inaudible. And it is important to the music. In the cd reissue, the bass sounds great. So unfortunately I traded in my analog spark copy and got a European one which was most likely made from the cd, because again the bass is great. Is it pure analog? no. But being faithful to the original medium and artist intentions should NOT mean being faithful to the mistakes of the past as well.

Mordante's picture

That list is just worthless.

CG's picture

I Just Tried An Experiment...

After listening to the Overture from Tommy as played through your vinyl reproduction system, I then listened to every digitally mastered version of the original Overture that I own.

The digital versions, including the "high resolution" ones, all sounded very similar to each other. None sounded like the vinyl playback.

Since all these were played back through the same electronics at the same measured level - at least as close as I could make it with the Faber Acoustic SoundMeter app in my iPad - I have to conclude that the mastering is different between the original vinyl and the more recent digital versions.

I can't believe that as good as Mikey's set-up is, it can perform magic and put information, especially the right information, back into playback. It can only color and distort the original or, more likely, minimize any degradation of the sound available on the disc. The same is true for the gear and the process used to add the music to the video. There's obviously more and better musical information on the vinyl. QED, MF! (The MF does not represent Michael's initials, although certain people might argue the point.)

The vinyl plain sounds better. By better, I mean more realistic. At least realistic in the context of a studio recording.

I'm not pointing a finger at any technology here. But, I do think that it shows, again, how really good pieces of musical art got "re-interpreted" when they were digitized for sale on CD and so on. Maybe the reinterpretation wasn't so great.

So we all lost a couple generations of music? What's the big deal? I guess it's important to remember that for most people in the recorded music chain, this is all just a product like shampoo, breakfast cereal, or prescription drugs.

That all tells me that the best source of high quality archived musical art is vinyl. Tape may be better, but it degrades at a faster rate than vinyl and isn't very accessible or available. Digital technology may even be superior to what's possible with vinyl, but garbage in, garbage out as they say.

Puffer Belly's picture

...circa 1995 and just about all digital releases since then have used the new mixes, which were also mastered with more dynamic compression than the original mixes had. If you want to compare Tommy on vinyl to a digital release, try using one of the CDs released in the 1980s. Before the mid-1990s, CDs were mastered with as much dynamic range as possible to show off the new technology. It still won't sound as good as the vinyl, but it will be a lot closer.

CG's picture

I think one of my CD's is from before 1990. It's been ripped onto a hard drive, so I'd have to go look for the actual CD and case to be sure.

In any event, I think you'll agree that you've helped prove my point. (Thanks!)

Digital playback can suck in many ways and the overall development hasn't really been pursued to the degree necessary for best performance. I think a lot of that is because enough of the associated people really believe that the little details don't matter and that it's already good enough. (It's funny how some of those same engineers wouldn't ignore those same details in a telecommunications system - audio just is viewed with disdain for some reason.)

Also, too many people in the "creative" part of the production process seemingly have little or no interest in making music sound like people singing or playing instruments. It shows. Gee... Could that be part of why the record biz ain't what it once was? When you go for the lowest common denominator, you can't limit the extent of where that attitude flows, I guess.

Anyway, I'm more convinced than ever that where it counts, vinyl is still better than digital because of the way the latter is executed.

I'll also say that if you read the various online audio discussion forums, the vinyl enthusiasts seem to be happier and are having far more fun than the other guys. That counts for something, doesn't it?

Puffer Belly's picture

Related to your comments about making instruments and voices sound real: Has anyone else noticed the same thing is happening to live performances? Even in the smallest venues now bands process all the sound through a soundboard, which adds dynamic compression, and then sends the same mono channel to all speakers in the venue. No instruments are really heard live anymore. Even in my hometown last fall at a polka festival held in a rather modest tent, the sound was collected by a soundboard, mixed to mono, dynamically compressed, and then sent to four speakers.

CG's picture

My wife is a regular attendee at open mike nights and events of that sort. She says that almost every venue is exactly as you describe now.

What's even worse is that's even true at bars and restaurants with any form of live music. It's so loud it's a wonder people don't choke on their food.

Perhaps it's done that way so that you don't have to actually speak with your dinner partners. Just text or use social media to communicate, perhaps.

Kind of sad, overall.

Sinsonido's picture

Haven't watched the video yet. Since Zappa is on the list just wanted to mention that Hot Rats is a Bernie Grundman cut.

Also, Nirvana's Nevermind on the Pallas pressing is also a BG cut. I believe it's still in print, since my local record store just ordered one for me.

mapp47's picture

HI MICHAEL,
loved the list but price and availablity would be a problem? i know you are a hardcore vinyl man but have you ever come across any cds that you thought were acceptable sound wise? thanks

WhatDoIKnow's picture

Having just set up a new stereo, my first in decades, I love lists like these! What I do - here comes the Heresy - is look each one up on Tidal and mark them as Favorites. (This means I can find them again.) The reason I am commenting here is not (just) to pull anyone's chain. So far I have only looked up the first 13 out of 100, and I am impressed by how many Tidal has in the "Master" format. That is their higher-res-than-CD format.

All of which means I will have a lot to listen to. The downside? Since I'm not buying them I don't have the rationing in place that budgeting, finding, buying imposes. I can OD too easily, if that is possible.

Thanks so much!

An old fart who has a stereo again, a better one than days of yore.

voicekiller's picture

Appreciate the list, but let me get this straight, the most contemporary album on this list is friggin' Joe Jackson?

Grant M's picture

1987 The Costello Show Featuring The Attractions And Confederates ‎– King Of America
1992 Janis Ian ‎– Breaking Silence
1993 Cassandra Wilson ‎– Blue Light 'Til Dawn
2002 Cassandra Wilson ‎– Belly Of The Sun
2008 Shelby Lynne ‎– Just A Little Lovin'
2011 Gillian Welch ‎– The Harrow & The Harvest
2014 Jerome Sabbagh ‎– The Turn
2014 Jamie Saft, Steve Swallow, Bobby Previte ‎– The New Standard
2015 Samantha Crain ‎– Under Branch & Thorn & Tree
2018 Yuko Mabuchi ‎– Yuko Mabuchi Trio: Volume 1 & 2

Grant M's picture

Shane's got some amazing records on Michael's list. and there are bundles and some sales from his website,
so buy them direct from the man himself! The Judee Sill records are a steal at 50% off.

https://www.interventionrecords.com/

voicekiller's picture

Did you check the release date on every album? I should have just said what I meant. The list is helpful, but if we’re trying to keep this industry alive for another generation, could we have a list that doesn’t look like every baby boomer’s record collection?

LostArkitekt's picture

Thanks for this list, Michael. However, I'm trying to compile a list to purchase, and I notice that you mention some you like 2x45 and some you like the 33-1/3 better. I know it will take a little bit of time to update the list, but can you put 2x45 next to the ones you prefer in that format? For instance, UNITY from Music Matters is offered in both, but you don't mention which one you like better on that album.

From a modest collector with limited funds, it would be appreciated!

IR Shane's picture

To have placed 5 LPs on this list with so many long-established GREAT labels!

I did want to make one comment- the ONLY time IR masters from a digital source is when that is the master format. In the case of Joe Jackson's Summer in the City, it was a 20-bit digital recording, and and our new master was made at 20-bits from the original DATs. The jump in quality over the truncated-to-16-bits CD is mind-blowing!

The 'tweeners in the IR catalog are Everclear's Sparkle and Fade and So Much For the Afterglow. The recordings were to tape, but there was never an edited and assembled analog master made. It wasn't possible to use the tapes, but we were able too compile from flat high-res transfers directly from the tapes. The results are similarly astonishing as even the original LPs were mastered from 16-bit files.

Hope that helps and THANKS!

abelb1's picture

Very enjoyable thanks Michael!

Steelhead's picture

Like any list it invites comparisons and you have compiled quite a wonderful list.

I would throw the Classic Trinity Sessions on the list as that is the one title that had me personally shut up about digital recording being pressed on vinyl.

Margo casts a spell on me when I spin it and I would have lost money if I bet it was originally recorded digitally.

Trinity Sessions - Cowboy Junkies -ESSENTIAL

Rosario's picture

Great video!
Mike, at the end of the video you said you were going to make a video of 100 Classical records to own soon. I really hope you do because I would be very interested in seeing that.
Classical is an unpopular genre, but because of this it is possible to find original Columbia six eye records for a decent price used. Maybe around $10.00. You gamble on the condition but sometimes get lucky. I have bought some on ebay. A lot of them are dirty and have surface noise, but some come in good shape. As opposed to Jazz records where the originals are way too expensive to gamble on. Especially on ebay.
Thank you for a very informative video!

bdp24's picture

I'm a little younger than Michael (I was in High School when he was in College), which might explain why I find his list of 100 too heavy on Jazz for my taste. I did go see Bola Sete live in '67 (the father of the guitarist in my garage band was an amateur Jazz drummer, and took us to that show in Los Gatos, CA as well as to see Cream and Hendrix at The Fillmore and Winterland. Mighty hip dad, but he wouldn't smoke Jazz cigarettes with us ;-). I do love Ellington and Basie, though, and Mose Allison too.

Bingg's picture

Great work, very comprehensive list and highly entertaining video. Bongos for Mike (since kudos are already taken by another familiar face:)

Can easily subscribe to most of the titles in the first third of the list (Jazz). However I noticed the absence of some heavyweight classics from Trane, Miles, Monk and Mingus. Just no recent reissues or …?

Any recomendations on past reissues of Miles’ Jack Johnson? My absolute favourite, but my copy (Columbia KC 30455) sonicaly muffled and bassless.

Oh, and by the Way; Smokin' At The Half Note should most probably be rightly credited to Wes Montgomery with Wynton Kelly Trio. On my Verve Master edition CD, from 2005, only Montgomery’s name is marked on the side and on the back of the digipack, as well as on the disc itself. Introduction to CD bonus track Willow Weeps For Me goes like: » Wes Montgomery .. .with one of the best rhytm sections of today, Wynton Kelly Trio«.

mischmerz's picture

We all know that in modern vinyl masters, the grooves are not evenly spaced on the record. In order to control the spacing, the cutting machine needs to know the signal before it reaches the cutting head. So, the source signal is splitted with one part routed to the cutting machine and the second part is delayed about 2 seconds before it is routed to the cutting head. Most modern mastering is done with digital delays. In other words - even if the source material is purely analog, the process of delaying the cutting signal requires digitization - unless the master engineer has a specially modified tape that can do the delay. So - here's my question: Is there any information as to what kind of delay was used on those recordings?

Greg Freeman's picture

Hi mischmerz,

You are right, the signal needs to be split in time for the lathe control and the cutter head to work together. If these were truly mastered AAA, they most likely used a professional mastering two-track tape deck with a preview head: https://www.audiomasterclass.com/newsletter/a-very-unusual-tape-recorder...

Sinsonido's picture

Any thoughts on the MoFi 45 rpm of the debut LP? I'm very close to pulling the trigger.

Doug Hannah's picture

I have a modest system. Project Debut Carbon Espirit using an Ortofon 2M Red, with an NAD C316BEE v2. I read this and decided to hear for myself. I bought the Tony Bennett live record from Analogue Productions.

I listened to it today.

I believe you now. Astounded at the realism and energy.

You were right.

LarsIsac's picture

Thank you for this highly informative and enjoyable video. Many of the records were unknown to me and I have now ordered many of them from various sources. Being 58, it seems the focus is primarily on records that are a little before my time (I started getting into music in the early '70s) which is probably why they are new to me. As John Darko's reviewing focuses on music from the 80's and later I could only hope that some reviewer would dig into worthwhile records from the '70s. Also, two records that I myself would have added to the list are "Sgt Pepper's" and "Dark Side of the Moon"

hishou's picture

The Turn is not AAA. I think Pro Tools was used. That was the whole point of Jerome releasing his latest album, No Filter, which is truly AAA.

JayTrez's picture

Michael, Not sure where to post this inquiry... Do you have any insight into the Chrysalis issue of the Ten Years After above? It looks like it could be AAA, but the available info is incomplete (about source and recording site).

X