Cover Judge
Octoboer 2002

Background: Rewinding back to October 2002, CDNow was still around before it was sold to Amazon.com. One could find a sealed copy of DCC 24 Karat Elvis Presley for only US$30 (before shipping) at CDNow. eBay was a great time-waster but looking back, my LP collection benefited a lot from eBay. Back then, air shipping an LP from the US was merely US$5-7. Now you pay 3 times as much to ship a single LP. The elusive DCC 24 Kara Elvis Presley LP, if you can find it sealed, would cost 7-8 times at least. All these in a matter of 10 years.

Now back to the future - October 2002

How many of you would lament the “could have” and “should have” during the last days of Mobile Fidelity Sound Lab (MFSL)? I managed to grab a few CD but should have bought a few more when CDNow was clearing a sizeable catalogue of their MFSL pressings. I should have bought the whole lot of MFSL LPs and sold it off at the Internet for some handsome profit. Well, MFSL is now back in business and that may be good news for the industry as they’ve since released some SACD titles. But if your choice format isn’t SACD, would they reissue those titles in CD or LP for you? Perhaps there are more unanswered questions which keep LP bidders willingly clicking the “Place bid” button to get a handle on their most wanted.

Such wants differentiates an audio hobbyist and a casual music listener. And attention to detail often makes this hobby so interesting and at times obsessive. Details about cover art (embossed? Gatefold?), outer sleeve (color?); inner sleeve; inserts (poster, lyrics sheet); vinyl color; year of pressing; country of pressing; mastering engineers and all the other packaged loonies. At times, we become too engrossed into such details and forgotten that it is music that we are buying. Due to many chasing first pressing and deleted cover art (e.g. The Scorpion’s original Virgin Killer cover), prices of collectible used LPs have been a better performer than our half dead stock market. Lucky you if you have a considerable amount of collectibles but if you have just started or thinking about starting, you are a decade too late!

Nevertheless, your LP collection doesn’t have to be expensive if you are not chasing audiophile labels or buying rare or collectibles. But it is hard not to be tempted if you continue to hear how good is this and how quiet is that. Also, if your music taste is not too varied say, sticking to mainstream jazz and/or 70s pop/rock, you may find yourself one time or another, buying your favorite titles over and over again and each time paying more for it. So, in the end, your holy grail of ‘Dark Side of the Moon’ could be a sealed copy of UHQR numbered 0888 that would become too precious to be opened.

Talking about sealed LP, recently I bought a new old stock copy of “Song Remains The Same” by Led Zeppelin through the net. Fully original, first pressing (US), tightly sealed, shrink-wrapped with an advertising black label sticker on the right corner. I didn’t waste a moment to open it since my old copy has become too rough for my stylus and nothing beats listening to a clean version of “No Quarter” which IMHO, remains my favorite Led Zeppelin song. Lo and behold, this antique of the 70s, probably in storage for many dusty years was never in its original shape anymore. The song remained the same but the vinyl didn’t. The 2nd record warped. Urgh! How badly? Well, it is bad enough to hear intense groove noise and severely testing my Lyra cartridge’s ability to roller coaster. Skip, it didn’t but I reckon it would make a better collector’s piece left unopened
By the way, this LP has been re-mastered by Classic Record in 180g format and is due for release at the time of this writing. It should be a no brainer which to buy given the same situation.

So, no more tightly shrink-wrapped, new old stock LP (no matter how well kept) and no more audiophile labels priced only for extraordinary human. What’s left? Well, going by my listening experiences of some high-end systems playing some standard and humble pressings, there are plenty of things left to uncover. How about spinning an unwanted, scorned local pressing of ‘Dark Side of the Moon’ using the Clearaudio Reference turntable with Ruby 2 cart powered by a full Goldmund Millennium series amplifiers caressing the Italian beauty Amati Homage with all silver cables?

I was surprised but more like stunned when I heard it at a friend’s home system. The never before detail, image, realism and most of all music blew me away and defied “my logic”. It threw me off. Local pressing was not supposed to sound like that! A very high resolution system should dish out this “bad” pressing mercilessly. But it didn’t. Instead it put my MFSL version to shame. Did the owner pulled a fast one and switched the LP cover? No, he didn’t and he wouldn’t care less about getting MFSL vinyl. Even without the presence of a reference version, my listening was uncolored since I didn’t know nor ask what version of DSOTM was played when he turned it on.

It was a good hi-fi lesson and I knew my old logic needs tweaking. You don’t need good sounding software if you have very good hardware? and vice versa? Perhaps what I’ve learnt most was never to condemn or ridicule an LP pressing before looking at our own ability to squeeze out all that’s in the grooves.

Judas Priest Epitaph Farewell World Tour
3.Mar.12

This could probably be the first time and the last time we, Singaporeans were able to enjoy Judas Priest (with most original members) play before our very eyes in Singapore. Classic rock acts and old-school metal bands are no getting younger. While many older rock acts are playing for their pension, Judas Priest is still very much an A-list band, headlining major rock festivals.

Lamb of God was the supporting act for the first 90 minutes tailored for the younger audience. I’ve to be honest that I belonged to the old school of rock and couldn’t understand a bit of the machine like drumming, ultra fast and furious crunching guitars and growling vocals
 

They came in black, raising the unifying symbol of metal school. Past, present and
future!
 

Our Fort Canning venue will always be too small for such gigantic A-list metal acts (do you recall what Gene SImmons (Kiss) said about this venue?). Sound wise, there was stark improvements over the Whitesnake concert back in November 2011.

With the stage projecting the original LP artwork as backdrop, Rob Halford shared some interesting stories as prelude to the song, quite like a lecture on heavy metal history for the audience. I reckon the singer’s intent was to claim the heavy metal crown that started it all.

The JP set scored big on value for money, lasting some 2.5 hours. I got the hits, I caught the Harley bling and smelled the leather studs but the only thing unfulfilled was not hearing “Screaming for Vengeance”. Well, 9 out of 10 ain’t bad.

Wish You Were Here How Many?
26.Jan.12

How many different pressings of your favourite LP do you need?

Maybe 3, max 4?

This is probably THE LP that I’ve listened to the most in my entire LP collection and very likely in my life. Which makes a good excuse why I’ve kept more than 3 different pressings of the same. You see, I usually don’t have this habit of keeping more than 2 copies. As a careful owner, my spare copies are rarely called into action. But keeping different pressings is a whole different game to keeping duplicates. Here, the quest may not have an ending, it could get ridiculously expensive or silly, or both.

In above picture, starting from the left corner and in clockwise direction - Japan Master Sound pressing; US Columbia Master Sound; UK mid 80s re-issue; Israel CBS early pressing and in the middle, a UK reissue in the early 90s.

Now I’m not recommending which WYWH is the best or the version to buy. I reckon I haven’t listened to enough versions to write about it. Just check out www.discogs.com and you’ll find the list of versions just go on and on. I realise the longer I’m into this hobby, the more Hi-Fi systems I’ve experienced, the more I understand that - we, audiophiles are all different. We have individual preferences, different listening environment and playback system. The LP source, after all is just one single factor in the whole equation. Having said that, it is much easier to get a consensus singling out the lousy ones or pressings to avoid.

If I’ve have to make a recommendation, to me, the version that sounds analogue to you, the one that plays with good overall tonal balance, is a good enough version to own. In my encounter, most original WYWH versions sounded good (it’s hard to screw up a 5-star recording) and they are not monopolised by only from the UK or printed only in 1975. Lately, I’ve heard an early 90s reissue that’s very decent too although I can’t say the same for the recent reissue.

My first WYWH lp looked like this one (purchased backed in 1978). But on the lower section of the pink OBI, I recall my copy had the 4 faces of Pink Floyd printed. Perhaps that was the Singapore version. How I wish, how I wish this lp is still here... This long box CBS Mastersound Gold CD should be quite a collectible now. I remember owning it and giving it away when I switched to vinyl. In my mind, it is one of the best sounding CD in my then, 300+ CD collection

Looking forward, I think I’ve enough of WYWH. But I’m still dead curious to hear from anyone who owns or to listen in my hi-fi someday, the touted mother of all WYWH, the UK Nimbus Supercut version.

Reissueable LP - Is Anyone Listening?
12.Dec.11

So what’s new in EMI’s latest remastered, reissued vinyl for Dark Side of The Moon (DSOTM), Wish You Were Here (WYWH) and the soon-to-come The Wall in deluxe print? Maybe new reissue vinyls are targeted for new fans, for newcomers who have never owned a copy of DSOTM before. If you are not new to this game, chances are, that you already owned one or more, better versions of them. One sure thing is this wouldn’t be the last “new” releases you see of DSOTM or WYWH. Sorry for being the cold blanket but this latest outing is not about better sound quality.

Looking at the number of times some LP titles that have been reissued, again and again, I have my doubts if those corporate decision makers know what reissues vinyl market lacks or wants? My take on what LPs to reissue should meet these criterions - firstly, serious money have been paid for their originals at auction sites or used LP shops. Next, they are audiophiles must-haves (read: in demand). Lastly and usually, such LPs are usually good sounding and has good content.

One easy telltale sign is to scout the used vinyl markets. There is plenty of market intelligence one could gather from places like eBay or Gemm. Of course, there could be sticky licensing and legal rights matters for hot titles but they sell and should sell a truckload.

But wait a minute - don’t DSOTM and WYWH met all of the above? Of course they do but what I am unhappy with is the umpteen times they’ve been done and each time expecting fans to re-buy (for improved sound quality?). This appears to me there is no other better reissues choices or there a disconnect between record reissue companies and the vinyl consumers?

In the course of my work in engaging customers and feel of the market, I humbly offer this list of highly reissueable LPs to all record companies. There are no usual suspects, no bold takings, just common sense. See if you would agree with me.

Unlike Pink Floyd’s reissued to death stuff, the most wanted title to complete most vinylphile’s quest is The Division Bell, Pink Floyd’s last studio recording in 1994. Nevermind the original blue or green vinyl, a good reissue would make a million fans happy (and sell!)   Dire Straits On Every Street has been overlooked on every corner and is a great reissue candidate. Enough of Money for Nothing, enough of Private Investigation. I want my, I want my On Every Street. Who needs another Thriller LP? Does it matter if its 25th anniversary issue or 30th special anniversary edition? Who doesn’t already owned one or two? Dangerous is way more exciting, way fresher. Bernie Grundman mastered the original and there’s no touchup needed. Just get the original master tapes and roll the ink! Loads of MTV Unplugged albums. Eagles’ Hell Freezes Over, Mariah Carey, Neil Young, Bob Dylan or even Kiss are all good stuff to reissue. These originals sounded superb (and pricey in the used markets). Even if the reissues could only achieve 98% of the original sound, it is an A+ for most of us. One recent live LP that has seen prices shot through the roof is Katie Melua’s Live At the O2 Arena. From this discovery (live recording), vinylphiles would work backwards to buy her earlier works like Call Off The Search and Piece By Piece. Now, that’s a formidable reissue catalogue on hand. You’ve got Jennifer Warnes The Hunter (Cisco Music) but have they forgotten Mary Black’s No Frontier (1989)? Older audiophiles would remember this triple-platinum selling, must-have vocal test track of the title cut. Babes In the Wood was a good reissue and No Frontiers shouldn’t be too tall an order? Still Got The Blues? Haven’t got it? This is an elusive LP even when Gary Moore was alive. Many customers would buy just that song for the whole LP. Moore’s 1990s effort are much harder to find in vinyl and this is where reissues would make a lot of sense. Many metal bands of the late 80s have got their vinyl reissues e.g. Poison, Motley Crue, Slayer, Def Leppard just to name a few. I am waiting for Skid Row’s turn. Their self-titled 1989 debut and Slave To The Grind (1991) are classics. Now, just give us these two first. The short-lived ESA records (Germany) printed several, very limited 180g box sets of DMP label artistes like Thom Rotella Band and Film & The BB’s Tricycle some 10 years ago. I would think these DMP titles would do really well as reissues. Last but not least, an audiophile favourite to test and celebrate your hi-fi system. Live audience, thundering drums, rolling timpani, striking guitars and great ambient instrumental world/new age music. Reissue Friedemann Aquamarine Orchestra In Concert in luxury box set in 45rpm (original was in regular 2LP set) to stamp the already audiophile records of highest measure. This title could wrap up 2012 as the Best Reissue of The Year.

Let’s hope the vinyl reissue companies would get creative, sniff around, do some research before dishing out more of the same. The vinyl buying customers are waiting. Let’s hope they are listening.

Whitesnake 2011 “Forevermore” Tour
11.Nov.11

Are you old enough to remember National Theatre situated at the slope front of River Valley Road? Back in the late 70s, I used to get my rock concert fix there courtesy of 2nd Chance, who was still in textile retailer business back then. When the local bands were playing familiar cover songs of our rock heroes (Deep Purple, Led Zeppelin etc), the
easily excitable crowd would get tele-ported to some dream rock venues of choice. For some S$8, it was usually packed fun, accompanied by plenty of uniformed policemen. It was watching me, watching you.
 

Three decades later, the real thing is finally here. When David Coverdale jokingly asked his band - “Why did it take us so many f**king years to come here?” This really resonates in me. Knowing the Fort Canning Park concert venue was just a stone throw away from the long demolished National Theatre. Hell, it was so long ago.

Here are a few low-fi pictures from my iPhone.
 

Sound wise, I would give the first half of the concert - 7/10 but in the second half, I would barely pass it. In the latter half, David’s voice was almost drown in the mix. Overall, it’s still a far more enjoyable rock concert venue, barring the weather, than The Singapore Indoor Stadium.
 

What does it take or what is he taking, to look so good at 60. Surely not easy being David Coverdale.

My favourite songs of Whitesnake linger in their blues rock period i.e. prior to 1987 album. From that album onwards, I felt David tried to out-sing Robert Plant and there were just too much screaming. For this concert, set-list wise, I reckoned the younger audience enjoyed more. But seeing this man, in the flesh, singing, is good enough. His rock star moves and prancing with that mic stand (sex object) was so good to watch.

Now, please bring on the next ex-Deep Purple, Glenn Hughes (Black Country Communion) would you?

Don’t Stop Believin’
1.Nov.11

The subject of loudness war /CD compression has been beaten to death and covered by numerous audio writers. However, this illness of the music industry becomes fresh again (to me) after reading Steve Perry’s (Journey) very recent interview with
www.melodicrock.com.

Not just coming from any magazine writers, not any casual blogger but STEVE PERRY himself - one the most distinctive, powerful high voices of Classic Rock. In the interview, the song writer and ex-Journey frontman telling us why Vinyl is the best medium to enjoy his music; why they (record industry) are messing things up by turning up louder and louder; keep adding more to the top and the bottom.

Honestly, despite being a A-list band (or Super A-list), the sound of Journey on original vinyl is nothing to shout about if you compare them to other bands like Dire Straits, Bad Company, Styx or Foreigner. Playback Journey old records (on a high-end system) tend to find one (audiophile or not) wanting more bass weight and cooling the highs just that bit.

It is interesting to know that The Voice himself is behind remastering the original Journey Greatest Hits and new vinyl release of Journey Greatest Hits 2. He worked track by track to overcome some frequency challenges and sibilance issues. I wouldn’t jump into it just yet but would wait that little while to hear feedback from those who also owned the original issues.

The Greatest Hits 2 could just be the best Christmas gift for myself, afterall Sony Legacy is a major label (read: serious production) and Don’t Stop Believin’ it may just be.

Issues With Reissues Part II
11.Oct.11

Mr. J (an avid LP customer) is not afraid of doing A/B comparison of LP pressings. He has turned up several times since my last article ranting about some reissue LP (Issues with Reissue) about a year ago. This time, J. came to me with his favourite LP - James Taylor’s JT issued by Mobile Fidelity, in deluxe gatefold, 180g, limited numbered edition et al. It was a heavy LP to say the least.

In J’s LP treasure bag, held another JT. An original Japanese version (Sony SOP label) he bought sometime back. I asked why he bought the reissue when he already has, to me, a very good sounding JT. His answer was simple - JT is his favourite and he is hoping the Mobile Fidelity treatment could better it. Some tall order, I was thinking to myself.

So we played the 180g first using Handy Man (Side B Cut 1) to shootout and after that, the old, lighter Japanese version. When it came to the latter version, within the first few chords, right after James Taylor’s voice came, I lifted the tonearm and looked at him. Without a word, without a doubt, the result was unanimous. The Japanese handy man is much better than the audiophile version. There is more in the strings, more ambient, more live in the music. Putting it in another way, it’s like the audiophile version took something away because it was in the original.

I felt sorry for J. He spent the money and came to me with such enthusiasm like Columbus discovered America but returned home with a LP that he may not play again. That sinking feeling is not supposed to happen in this business of pleasure.

Somehow, J’s lousing experience pushed me to pen this. Glossier cover, heavier than necessary vinyl, limited numbered print don’t maketh a good LP. The choice of printing James Taylor’s old catalogue also appears a tad strange to me. Firstly, his used LPs are not hard to find (read: inexpensive). Secondly, do we need audiophile versions knowing James Taylor’s standard pressings are already of such high standards? I wonder if reissue like that was done for a purpose or just for convenience.

Having said that, WEA’s recent reissue of Fleetwood Mac Rumours (2x180g, 45rpm) was done really well. Perhaps, Mobile Fidelity could take a leaf from them - go find a classic that was not well done originally, improved on it, sell many a truck load but also make audiophiles like J. happy too.

Friday Night In San Francisco (20-bit Remastered) (Columbia/Legacy CK 65168)
8.Sep.11

The guitar Trio’s debut album “Friday Night In San Francisco” was recorded on 5th December 1980 at the Warfield Theatre for a supergroup featuring Spain’s flamenco master Paco de Lucia, the American fusion star Al Di Meola and classical Jazz master John McLaughlin. In 1981 CBS Columbia released this album under serial no. CK37152. Tracklist:

1. Mediterranean Sundance
2. Short Tales Of The Black Forest
3. Frevo Rasgado
4. Fantasia Suite
5. Guardian Angel

Followed with the big success of the concert as well as the album, in 1983 this supertrio collaborated for their second album “Passion, Grace, and Fire”, a title, which describes their music perfectly. In 1996, they re-united for their third album “The Guitar Trio”. No doubt, the “Passion, Grace, and Fire” and “The Guitar Trio” are both excellent albums recorded with tremendous studio effects for their perfect trio music collaboration. But, personally I find that these two albums do not deliver the same kind of thrilling and excitements as from their first album “Friday Night In San Francisco” which was recorded live. 



Like what John McLaughlin described, “On stage we had a wonderful time, and the audiences seemed to be thrilled with the whole idea of three acoustic guitar playing together. This kind of intimacy was probably refreshing to them. It certainly was to us.” Also as what Al Di Meola said, “It was a night of pure balls to the wall, but highly creative balls to the wall. It was an unbelievable climax t our first two-month tour.”

For those already own a copy of this album, I believe that they never forget the remarkable “Mediterranean Sundance / Rio Ancho in track #1 where Al Di Meola and Paco de Lucia were both like challenging each other with their acoustic guitars playing at impossible high speed.

I do believe, many of you already have a copy of this CD released by CBS Columbia in 1981. It is still worthy for having a newer version using 20bit-remastered technology. This 20bit-remastering version was released in 1997. Understand that, subsequently a SACD version had been launched in 1999.

I ever owned a LP record version, which is still so far the best among all available CD versions remastering on whatever latest digital technology

Joseph Luk 陆强声
7 September 2011

The Vocal Collection (Chesky) (Chesky VC 94)
5.Sep.11

讲到发烧级天碟，自然少不了Chesky Records这个名牌唱片公司所录音发行的CD专辑，早
在十多年前已其录音靓声驰名，以其High Resolution Technology 128x oversampling为音质
保证。

初次认识Chesky Records, 是早于1994年。买了这张Chesky Records 于1994年出版， CD编号:
 VC94的 The Vocal Collection。此CD专辑除了录音特别靓声外，也十分抵听，内收录了多首
旗下一群出色爵士乐歌手。如，Rebecca Pidgeon, Sara K, Livington Taylor, John Pizzarelli, Leny
Andrade等的精选歌曲。也因此，引领我后来买入其中几位歌手专辑作私人收藏。

话说到此，凭上的一皇二后三首靓歌，已足以值回票价，况且Chesky Records已绝对是靓声
音质保证，那还夫复可求呢？

Joseph Luk 陸強聲 
3rd September 2011

Jose Feliciano ~ The Hits Collection (Onion ON8003-2)
2.Sep.11

讲起Jose Feliciano，相信你还想起他的经典名曲，如《Light My Fire》、《California Dreaming》、《Rain》？如果你又喜欢弹结他的话，也会想到他弹奏的《Malaguena》金曲。 对吗？岁月流金，不知不觉，这些歌曲也流传了约三十馀年。 但美好的音乐、动听的歌曲，是不会轻易被时代淘汰，也难以令人遗忘。偶而聆听一番，令人回味
无穷！

令人万分佩服的，是先天双目失明的Jose，竟有如此高的音乐天份、造艺、及其对音乐的
热爱。当然，还要佩合他後天无比的努力、及自信心，才能令他在十岁时，便能作第一次
公开表演。十七岁的Jose便加盟RCA。在他二十三岁时更以《Light My Fire》一曲惊世。
盛名至今。

回归正传，现在要介绍的，是Onion Records为Jose 在2000年推出的精选专辑，是用上20bit
数码重制原声母带，以求做到尽音向发烧级数。也许，你会说，Jose的精选专辑，在市面
上真是多得很。但到达音响发烧级数的，除了以上介绍的Onion 版外，屈指一算，那就
只馀Pony Canyon. 在1998年推出的Jose Feliciano – Unforgettable Hits（编号：PCPI-0028-2），
是用上24bit DSP mastering的金碟。这两个版本专辑我也同时拥有。

比较下，Pony Canyon版所拥有的十二首歌，Onion 版也全收录了。如，《California Dreaming》、《Light My Fire》、《Rain》、《Right Here Waiting》、《Angela》、
《High Heel Sneakers》、《Time After Time》、《Daniel》、《Stay With Me》、《Jealous Guy》、《The Last Time》、《Mule Skinner》。

然而Onion版还加上另八首名曲，如《Que Sera, Sera》、《In My Life》、《Affirmation》、
《You Send Me》、《La Bamba》、《Chico And The Man》、《Pegao》、《Y Volvere》。
在比较这两个版本之音色高低，发觉Onion版较为胜出。因为这版本的乐器及人声分
隔度均较鲜明、音场方面也较清晰、富自然感。因此24bit就不一定胜过20bit，金碟也不
一定比普通碟好。还是以聆听比较作为准则。

Onion版本里，除了可以享受Jose的多首经典名曲外，也可听他以独特的风格来演绎Richard
Marx的Right Here Waiting成名作。而且这版本所带来的另一喜悦，是它包括了
《Affirmation》、《Pegao》两首Jose的精彩结他演奏，还是发烧版的。

陆强声 - 31st August 2011

Joe Bonamassa @ The Esplande
4.Jul.11

15th May 2011, I was seated on the 2nd row at the right side from the stage of Joe Bonamassa gig at The Esplande. The last time I was this close to a rock star was when Bryan Adams came for a New Years Eve concert in 1995 (Singapore Indoor Stadium). The frightening thing about this time was this huge right speaker firing directly at the front rows and being an all-seated gig, there’s no where else to run. The soundman was playing Iron Maiden’s just before the show began and my ears were already ringing. At that point, I was really worried if I could finish the whole show with my ears intact.

Joe Bonamassa and his band (bass, drum, keyboard) came on and as loud as they got on, my fear of the loudness was unfounded. The music was clear and tight without the piercing highs, echoes and painful reflections that I usually get from the Singapore Indoor Stadium. What a relief!

Here are few pictures from my iPhone



A plain stage saved by some beautiful lighting.



Joe Bonamassa plays a blend of blues-rock quite similar to one of his heroes, the late great Gary Moore. Joe’s definitely someone who could play the phone book - both forward and backward.



The acoustic set includes my favourite - Woke Up Dreaming.



Like any professional footballer who could run up and down for 90 minutes or more (extra time), Joe Bonamassa’s stamina was all up to it - some 15 fingers and a pair of lungs.

The Esplande gets up thumbs up as the choice rock concert venue in Singapore. Did my ears ring after this concert? Yes, it did but the difference was the ringing faded rather quickly unlike the Iron Maiden gig which lasted some 24 hours.

Now we’ve seen Joe Bonamassa in person, perhaps the concert organiser could bring Black Country Communion (BCC) to Singapore. For those unaware, BCC is Joe Bonamassa’s side project, a Supergroup which recently released their 2nd album (titled “2”). It climbed to #2 on the UK Top 40 Rock Album chart. BCC is one of the few new bands in recent years that has got me excited again with new rock music. Those into Classic Rock die-die must try.

Close Encounters of the 3rd Kind
13.Mar.11

15th February 2011, a wet Tuesday evening was a big night out for me as I went to see one of my rock idols Iron Maiden (The Final Frontier World Tour) live in concert. My maiden contact was back in 1980 when I got my hands on the Metal For Muthas record. The standout tracks from this compilation LP were of course from them and the rest, like they said was history.

I was seated slightly off-center, a number of rows behind the sound-men (at Penal B), a “strategic position” supposedly to get quite a decent sound. This sweet-spot in audiophile term however was not any better compared to my prior experience at the Indoor Stadium as throughout the evening, I was battering the echoes, distortion reverberating at the back and the roof of the indoor stadium to quite hear the band clearly especially Bruce’s singing. The loud music, not an issue itself, just didn’t quite come as a whole. Alas, Singapore’s Indoor Stadium (SIS), a multi-purpose hall was not built for musical events. In fact, I’ve never been happy with the sonic at SIS for as long as I can remember. Nevertheless, seeing Iron Maiden in the fresh and singing-along to the intro of Hallowed Be Thy Name made it all worth-the-while and the wait.

My previous emotional moment at a concert was when I saw Deep Purple at Shah Alam(Malaysia) back in May 1, 1999. At that time, when the first leads of Strange Kind of Woman were played, I was nearly moved me to tears. This song brought memories back of my teen days when I had the headphone on banging my head to Made In Japan LP. Now seeing Ian Gillan in person belting out the screams were surreal.

Having Class-A acts like Iron Maiden play in our small market (Singapore) is really hard to come by. It was as close an encounter to relive fan’s memories and years gone by.

In another 8-10 years, I reckon most of my fave classic rock acts would have retired. Before that it is my wish to turn back the clock with AC/DC, Metallica, Rush, Kiss, UFO or even Van Halen.

I would also wish (appeal) to our local concert organisers, to give SIS a miss for future rock concerts. The Fort Canning Park open field is a better choice (sonically) even though the stage is smaller and the show could be exposed to weather condition. The rain becomes nothing when the band comes on. 

Issues with Reissue
11.Jul.10

My rule of thumb on buying reissue LP is simple - if a clean copy of an original pressing is affordable and available, drop the reissue. If a clean copy of an original pressing is available but not affordable then buy the reissue. Lastly, if its a die-die must buy original pressing because its your must-have or for some sentimental reasons then you go into overwrite mode and bite the bullet for the original.

A week ago, a curious customer (I’ll call him J here) suggested that he would bring some of his LP to play on our system (Modular Audio) to find out how it would sound vis-a-vis at home. He claims that some of the LPs didn’t sound right and would like to verify it. So J returned days later and in his LP bag were some Teresa Teng (Polydor and ABC Records), the recent Elvis 45rpm reissues (3LP) by APO and Julie London also 45rpm. I correspondingly dug out from my own collection of Elvis 24 Karat Hits! DCC reissue, a Teresa Teng’s (Kolin) and an original Liberty Record’s Julie London to spice things up.

So here’s a summary of our A/B test and non scientific assessment of the session

Teresa Teng

The prices of Teresa Teng original Polydor / Kolin records have become exorbitant to many vinylphiles and the appearance of her reissue LP is actually good news to some who just want to play her songs.

Nevertheless, both J and I knew that there is no argument here which is the preferred pressing even before the needle is dropped onto the grooves. Teresa Teng sounded alive, sweet, expressive and 3-D in the original release. Regrettably, you can make up the antonym here on the opposite side.

Our verdict? Intended buyers of Teresa Teng reissues LP are best advised not to compare with the originals. It’s cruel.

Reissue Versus Reissue

I have never heard the original RCA Elvis 24 Karat Hits! lp. I have been satisfied by the DCC version for many years and this DCC reissue has also become expensive because it is (was) the defacto Elvis LP to own if you only have money and space for 1 Elvis record. 

True to the colours of a 45rpm record, this APO reissue is more detail, better notes contrast (dynamic), bigger sounding and slightly forward (as a result) compare to my DCC version. It is like listening to an enhanced DCC version. On the other hand, the DCC is mellower, sweeter, Elvis is focused with more space in between him and his band.

So, which is the better reissue?

To my ears, there is no clear winner here. I felt that I like some parts of the APO reissue and parts of the more nostalgic tubey sound of the DCC. However, I would give a buy recommendation given the current going prices of the DCC reissue. 

J also shared with me the Elvis Is Back APO 45rpm version and the sonic characteristics I reckon is more of the same although I do not have a DCC copy on hand to compare.

The only criticism I have of the 24 Karat Hits! APO reissues is the LP cover/jacket. First of all, it is not gatefold and secondly, the front and back picture of Elvis looked like it was printed using some pirated ink cartridge. Quite a shame really.

Original Versus Reissue

Read some rave reviews on this 45rpm 2LP mono - Julie Is Her Name reissue lately? Well, you are not alone and J did too. The can’t go wrong RTI pressing, mastering by Bernie Grundman, 45rpm and 180g et al.

When Stereophile’s Fremer wrote “I defy you to find a better sounding recording of a female voice", I wondered if he was writing about the Box-star’s reissue copy because both J and I threw the white towel for this heavy 180g after a minute or so into “Cry me a river” - crying indeed.

There was no contest. A walkover. The reissue is dull and flat compared to my only EX version of the Liberty original. There was no 45rpm magic, no Grundman charm. The reissue LP cover looked just as bad as Elvis APO version as you can see from the photo above - the colours run! Nothing positive I can say except it is heavier than the original (1 LP vs 2 LP) and the quieter playing surface.

Verdict

I thank J for sharing his music with me although I guess he already knew the outcome even before comparing.

Although I am not an reissue LP supporter, I am still buying them using my rule of thumb (see starting paragraph). Reissue LP has played an important role in the vinyl revival. It also revives the jobs to many people. After all, there is little or no commercial interest in tracking sales of some old vinyl sold in the used market. 

Koji Tamaki - Wine-Red No Kokoro
2.May.10 (flashback article from Jun 2000)

Japanese pop/rock

Long before J-pop or Canto-pop were coined, there was a Japanese pop/rock group that was responsible for a dozen or more Cantonese hit songs. This disbanded outfit was Anzen-Chitai. During their heydays of the 80s, their many chart-toppers were covered by Hong Kong singers like a warmed up photocopy machine and made similar hits in Hong Kong for old masters like Leslie Chueng, Anita Mui, the four heavenly kings among others.

My First CD

I followed Anzen-Chitai since the early eighties (remembering my good old army days with a walkman on bus number 92 playing their numerous cassettes to and fro from the Paya Lebar Airport). In fact my first CD that I bought was Anzen-Chitai Best (Polydor) at Sonic Link Lucky Plaza at a princely sum of S$22 in 1990. Anzen-Chitai, fronted by Koji Tamaki and Koji Tamaki was synomous to Anzen-Chitai. He wrote all the music, played decent guitar and sang on all their songs with his sulky, soulful and full range voice. If you've watched them live (I did, on a LD "To Me Anzen-Chitai V Live"), you could almost mistaken if the rest of the band were his backup. He was totally dominating and the cameras and fans were on him all the time. Its like watching Genesis with Phil Collins on the mic and more. The only difference could be that Anzen-Chitai has too outstanding a member in terms of talent, creativity and chrisma.

After the band disbanded in the early 90s, the front-man Koji Tamaki turned solo and recorded many CDs. I bought his first two or three cassettes but stopped since. The unique Anzen-Chitai band sound that I grew to like and too stubborn to let go was gone although his signature voice and style were ever present.

When I first saw this CD at Audio Jas about a year ago (demo the Sonus Faber Grand Piano), I brushed it off thinking that it would be another artist riding on past success. All the 13 songs here selected from Anzen-Chitai era did not excite me. My second encounter with this CD was at Ben's (he's an audiophile's audiophile) new place a week ago. He demo-ed this CD for its vocals and probably the best sounding and natural kick drum recorded (quote and unquote). I was impressed by the CD and by Koji Tamaki's "comeback".

The songs from this CD were taken from Anzen-Chitai's late eighties work which in my opinion was their peak. The more familar tracks (if you ever listened to them) include "Friend", "To Me", "Aoi Hitomi No Elis" and the "kanashimi Ni Sayonara" - latter was equivalent of Careless Whisper in popularity during the 80s in Hong Kong. All the songs (fast and slow ones) were re-arranged (without Anzen-Chitai's signatures) and performed in a slower, mellower pace but highly sensual and infectious. Koji's singing was truthful to the original and was captured closer to the microphone then he did from Anzen-Chitai's days. Through the years, Koji's voice was still as melodic, husky and melancholy.

Old Friendship

It took me a session to get used to the new style just like it takes sometime to rekindle your old friendship. None of the tracks except the last one stretched his vocal ability and perhaps that was intentionally done to share the limelight with the accompanying musicians (all Japanese, with the other three original members of Anzen-Chitai). The strings and acoustic arrangement - guitars, soprano sax, flute, percussion and yes, the kick drum (you must listen to this) were all so beautifully played and captured. A pure Japanese production erasing once and for all my wrong impression that that Japanese recordings are bright and metallic and never musical.

Like fine matured wine, Koji coming of age (he's better looking too, ala Eric Clapton who grew cooler and sexier with age), I become an new old fan all over again. With Anzen-Chitai's bags of ballards and hit songs, I reckon he can do this three times over. This is a one piece of music that would leave you thirsty for more. Koji Tamaki (Wine-Red No Kokoro, Fun House Inc, FHCF-2447).

Assorted LP Views
6.Apr.10 (flashback article from 2003 when this was hosted as http://webhostme.hi-infidelity.com)

Shelly Mannie & Jack Marshall: Sounds Unheard Of! (Analogue Production, APR 3009)
This is the mother of all hi fi demo LP that I have. One acoustic guitar on the center right and a percussionist drumming, tapping, slapping, testing all the percussion instruments that Shelly could find in the studio - he had more 20 things to bang on (sometimes randomly). Take away the percussionist, you hear good solo nylon string guitar playing (jazz) but put together, they sounded like 2 customers testing some instruments in a Yamaha music shop. The hi-fi effects and sonic are superb - mastered by Bruce Leek & Stan Ricker. The advertisements in the sleeve read “You will hear things on this record you’ve heard on no other record!” Perhaps, hi-fi was invented in 1962. An excellent test record nonetheless.

Various Artists: Bob Dylan 30th Anniversary Concert Celebration (CBS Columbia, 3LP)
The first Bob Dylan song that I learnt was ‘Blowin’ In The Wind’, taught by my primary school music teacher when I was 9 year old. Many decades on, sometimes I still find his singing (mumbling) hard to accept. This 3LP set of various artists (including the legend himself) would satisfy many who love his songs but not his singing and remind us how melodic and meaningful his music were without having to like his vocals in the first place. Here we have George Harrison, Willie Nelson, Eric Clapton, Tom Petty, Eddie Vedder (Pearl Jam), Tracy Chapman, Stevie Wonder, Johnny Winter and more paying tribute to the man in a well recorded concert in 1994 (digitally mastered). Dylan’s music were translated into blues rock, country, R&B and everything the various artists (genre) represented. Taking away the dressing, at the core, it’s still his songs that matter. The downside of this LP set is, it could be hard to find and pricey due to its limited circulation.

Gounod Faust “Ballet Music” / Bizet “Carmen Suite” (Classic Records 45rpm, 200g, Quiex SV-P).
These set of heavy vinyl must be the least eco unfriendly stuff I have bought since I returned to vinyl about 3 years ago. Yes, 4 pieces of heavy plastic (200g) with only one-side of each LP playable. If your math is as good as mind, 50% of vinyl are wasted. The highlight of the program is of course the world famous ‘Carmen Suite’. However, unlike the audiophile favorite Marilyn Horne/James McCracken conducted by Leonard Bernstein “Carmen” (Deutsche Grammophon 2530 534), this one is classical without the opera. If you’ve been conditioned to listen to the opera version of ‘Carmen’, you may find something missing. Nevertheless, Classic Records didn’t disappoint in this reproduction/reissue but I think this is the maximum they could do to squeeze the last drop from the master tapes. Maybe, the next format for this re-re-issue would be reel tapes.

Whitesnake: Live in the Heart of the City (Geffen, 1980)
My favorite Whitesnake lineup playing their blues based hard rock (greatest hits) in front of an enthusiastic British audience. This was Deep Purple ‘Made In Europe’ without the egos. This was Whitesnake before Whitesnake for MTV; before big hair had something to do with record sales; before making Fool For Your Loving “covers” and before David Coverdale trying to sing like Robert Plant. This LP has 2 versions – single and double LP. Former was released by Geffen (for US market) but I would advice you to go for the latter, double release. If you are a Purple fan, you would need the double shot. Ritchie Blackmore would have been proud of this one.

Jeff Wayne: War of the Worlds (CBS, 1978)
The most appropriate record to spin in 60,000 years, given Mars proximity to Earth on 27 August 2003. I do not know how to classify such material but it was a melted port of musical + orchestral + electronic + rock + story telling (narration). It featured a cast of classic rock artists like Justin Hayward (Moody Blues), Rick Wakeman (Yes), Phil Lynott (rest in peace), Chris Thompson (Manfred Mann Earth Band) and the gripping bass voice of Richard Burton. Dim the lights and you could almost feel the creepy Martians around your stereo. Nano-nano.

The Emerald Forest: OST (1985)
I got this LP through someone giving up analogue, otherwise, I wouldn’t have got it without paying through my nose anything labeled as “TAS list”. I expected this to be as good as “The Mission” or “The Last Emperor” soundtrack but it wasn’t. Instead, I got snippets after snippets of African based (this part is understandable) percussion based jam that has little central theme. As a hi-fi demo kit, this would have scored high. However, musical content wise, I am not so sure. Interestingly, it makes me wonder how an unknown label could produce such a high fidelity record.

Louis Armstrong: Satchmo Plays King Oliver (Special 45rpm Series - Classic Records)
This is the downsized version of the original that features only 2 songs, one on each side. I was holding on to this 12” single (LP), unsure, looking and thinking if its worth. Perhaps, I want to hear what’s was the rave about in the HE2003 show (Joseph Audio and Manley lab’s show piece). Note: Do not be mistaken that I’ve the same gear or close to those demo-ed, mine’s far away. When I first put it on, the intro to 'St. James Infirmary' was fairly ordinary (a 1959 recording). About 1 minute into the song, my face changed when men voices started appearing on the left side singing ‘y-e-s y-e-s yeah…’ When Louis Armstrong started to sing the first word… I couldn’t be bothered what’s on side B.

Carmen McRae: The Great American Songbook (Atlantic, 1972)
My first experimental LP (2LP set) from this black singer, bought purely based on the ratings by allmusic.com. What a wonderful jazz record this turned out for me! Her voice, her band (featuring Joe Pass on guitar), her singing, her songs selection (good rapport with the audience) and what else…? It’s an affordable LP and last but not least, the recording is good too. 4 out of 5 stars.






Fish: Credo (Polydor, 12” 45rpm single).
Fish is Peter Gabriel is Phil Collins? Whenever I hear one, I think of the other two possibilities. They sounded so similar that it becomes fishy. I am no Fish fan but I like this catchy pop/progressive rock tune a lot - kind of radio friendly. I first heard it on CD and thought the LP version would be better and could the 12” be the ultimate version? Well, Credo’s recording was fine (but nothing to shout about) but my system met its match at the chorus at “rock and roll” volume (past 2 o’clock) and things turned messy at peaks. By the way, I felt this track also has a similar beat to Phil Collins’ Tarzan movie theme (Disney) that appeared years later. Hmmm…

Steve Forbert: Alive On Arrival (Nemperor, 1978)
Great debut LP from the then new Dylan. Raspy vocal, witty lyrics, a soulful harmonica and acoustic guitar with a set of simple pop but memorable tunes that would grow on you. Also 5 stars on sonic.

Sarah Vaughan: Songs of the Beatles (Atlantic, 1990)
My first Sara Vaughan LP. Each Beatles tune arranged with a clever touch of jazz and soul. Sarah’s reading may not amuse Beatles fan but I like it. She was backed up by none other than the most sort after famous sessions at that time -Toto

Kitaro: Astral Trip (Zen, 1978)
I am not his fan but came across this Japanese pressing LP too cheaply to pass. The music is surprisingly upbeat, interesting and the mixture of world music (some Sitar and Indian percussion) with Kitaro’s brand of synthesizer did not put me to sleep. You may not need a lot of his albums but this is a very good one to own.

John Kaizan Neptune: Dances For One In Six (Fortuna, 1991)
New age music, jazz fusion with a world beat. This one is even more interesting than Kitaro’s. There are only 8 tracks (about 40mins only) but the magic is its magnetic power to let you sit through it. In the end, you’ll realize its 40mins too short. No remote control needed and also very well recorded.

Gary Moore: Back On the Streets (MCA, 1979)
An excellent hard rock but underrated album to remind Gary why he shouldn’t have got into blues. Phil Lynott partnered him in 3 songs but the highlights were at the beginning of both Side A (title cut) and Side B (Hurricane). Latter instrumental was teamed with Don Airey on keyboards (Deep Purple, Rainbow fame) and Simon Phillips on drums (Toto) - excellent energy and synergy.

The Mars Volta - Frances the Mute
20.Feb.10 (flashback article written on 10.Oct.05)

Gold Standard Laboratories GSL96-- 2 1/2 180 LPs

I first came to know this “awesome” release via Musicangle.com very positive review – 10 for music and 8 for recording. Mr. Fremer told his readers to leave Dark Side of the Moon (DSOTM) behind and listen to this. As a supporter of this old format (I buy less than 5 CD per year), I listened to him and kept it in my watch list. When it recently hit the store, I picked it up (3LP set) at my favorite local LP joint. The proud shopkeeper said - “my Porcupine Tree customers all bought a copy”. Porcupine Tree customers can’t be wrong and so I checkout with added confidence.
Then, reality checks in. I didn’t get it. Not after one side, not the 2^nd or even finishing the 2^nd LP. Besides looking very Pink Floyd or Alan Parsons Project in the lavish LP sleeve and inner jacket, musically I was totally, completely, utterly disconnected. What is this? At best, there were some good moments (good melodic rock) but the final output (or sound files) appeared to be mixed by some over zealous studio effects freak. The mission – to make it sound more Pink Floyd than Pink Floyd.

Next the songs. The Spanish to English lyrics didn’t help either and perhaps due to the lyricist’s higher English. It was too deep for me and I know not what he is singing. The lack of punctuation in the printed lyrics made it worse and at times I was thinking if the singer was singing randomly generated phrases from some computer software!

If this would indeed become an epic like DSOTM, you need to wait for Bernie Grundman to work his magic – maybe in the 30^th anniversary reissue. This 3LP set sounded close in, flat and lacking in whack - unforgivable for a rock LP. To me, the most crucial instrument in a rock record is the drum and it has to have the snap and a clean beat. Here, all I can say, the drum was weak (for a rock LP) and not defined enough which I would attribute to the recording/mastering, not the playing. If ever there is a remastered edition, I would recommend Mr. Grundman to do a “Frances the Mute Naked” version to remove all these irritation and unnecessary distraction. An 8 rating for sound (Fremer)? Nah, that’s 3 marks too many.

I cannot deny the possibility that such new frontier, effects laden (software mixing) progressive/ psychedellic rock is for the younger audience and not for people who is still buying old music (read: old (“.) I’ve still the 3^rd half side to go as I penned this and to tell you the truth, this “epic” set could get lost in my storage (or memory?) once I store it.

If this music is so advance in time (like DSOTM), its good news to my kids because I am going to leave the last LP unplayed. I will also store this triple set with great care and all original inserts would remain in mint condition. In thirty years time, when the 30^th anniversary version is released, they could profit from this 1^st pressing, original limited edition should The Mars Volta became Pink Floyd. If there’s no buyer, at least one can use it to run-in cartridge, the last tracks are “locked out” and the needle will never reach the lead out grooves.

Now, that’s quite Pink Floyd.

Digital LP
2.Jan.10 (flashback article written on 15.Aug.06)

I was on a digital music diet since my SME10 was sold but waiting for the arrival of my Basis 2500 Signature turntable. The wait was agonizing but there are only so many arms Bob Graham could churn out in a day’s work I guess. Since then, I turned back to my dusty Sony XA50ES CDP and underwent some analogue detoxification. Digital or analogue, when done well and done right, there’s very little to choose from. So for some weeks, I re-visited my CD collection, walking back memory lane and enjoy some good music that I’ve missed since many have no vinyl substitutes.

While taking time to thumb through and filing my records (next closest thing to spinning them) I found that I’ve several favorites that were in fact wholly or partially digitized - recorded and/or edited. But these sounded great in my system and I am certain they would do the same to your systems. I am not about to jump into this whole digital versus analog recording debate because I care more about the music and how well it is playback than whether an AAD or DDD would make more difference.

So here are some of my favorite digital LPs. These are not desert island ones, probably not valuable enough to be included in your will and not difficult to find. But if you do find them, do not dismiss them just because they were not “pure” enough. The content and fidelity playback quality could bow you over.

The first one is the Rolling Stones – The Best of the Rolling Stones “Jump Back” from Virgin Records (V2726). This was my introduction to them. I bought the same 2CD set when it first came out and then the 2LP even though I have some original Decca and Stones versions. This compilation was mastered using UV22 Super CD encoded by Apogee electronics. Some may find the re-mastered too clean but I prefer this more lively and exciting version especially on the older (Decca) tracks.

I am not certain if all Rickie Lee Jones recordings were done digitally, this one from 1981, Pirates (BSK 3432) certainly was. Recorded on the 3M Multi-track digital system, this follow up to her Grammy Award winning debut, Pirates was no less enjoyable and as audiophiled to anything she had done or went on to do. Checkout the track ‘We Belong Together” and you may find yourself a good drum whacking demo alternative to the overplayed “Under the Boardwalk”.

Piano Two by various artists (2027-1-88) of Private Music label was done purely on digital (DDD). In fact, all of Private Music’s recordings were digitally recorded and digital mastered and reproduced on virgin vinyl. Piano Two’s main feature were Suzanne Ciani and Yanni (before he became a star in the Acropolis) doing unplugged versions of their new age, synthesizer music. Like most new age labels, the attention to production and recording were impeccable but ran short in promotion. This sample has remained one of my favorite solos piano music in any format.

There is no escaping the proud words ‘Digitally Remastered’ in all GRP labels CD or LP cover. I consider Lee Ritenour – Stolen Moments (GRP 9615) my favorite from this label among other titles from David Benoit and Special Efx. Recorded live-to-2-track JVC at Sunset Sound/Hollywood CA with digital editing, you would soften your stand against anything digital after the first 2 tracks. 

The Carmen McRae–Betty Carter Duets - Live at the Great American Music Hall, San Franscisco (Gamh 2706) is perhaps the least common among the lot here. Recorded at the G.A. Music Hall, San Francisco between Jan 30 and Feb 1 1987, directly to Mitsubishi X-80 digital 2-track tape recorder and mastered by George Horn. That is as close and as intimate you can get with the performers. A light-hearted, playful and spontaneous live recording.

This last one was only recently granted permission to appear in this website because I was told not to write about it until each of my buddies grabbed their own copy first - what selfish hobby this is! Session III (YDD-2010) featuring Nathan East, Steven Forman, Keiko Doi and others was done in the Yamaha R&D Studio in L.A using 3M digital recorder and PCM digital processor. I think this was a free demo LP to promote Yamaha musical instruments. This is contemporary jazz music with thumping electric bass and drum whacks which stole the show from the intended attraction – Yamaha’s then new electronic piano. Its classy demonstration quality with real music unless you prefer sound of an approaching train and some roaring thunder.

Good Sounding Greatest Hits LP Vol. 2
25.Dec.09

While browsing the current crop of new LP reissues, I think finding space to keep them could become an issue. You see, they are now heavier, bigger in size. Earlier we were assaulted by 180g 2LP format reworked from normal single LP and the latest wave is box-set of 4LP of the same titles. One 4LP box set taking up some 5 normal LP shelf space. Say you’ve bought some 10 box-sets it would have eaten up some 50 normal LP shelf space. Given these audiophile pressings box-set titles are nothing but reissues of former reissues e.g. Norah Jones’ Come Away With Me, are you enriching your music experiences or just your hearing senses?

Comes to think of it, its becoming to sound like my old digital journey when I started from CD. I chased the better re-mastered CD when it came. Then the higher Gold CD then HDCD then... The saving grace is that these super audiophile LP pressings (I am assuming they are super) do not require you to upgrade your player. But the same question to music lovers again is - Are you re-buying the same old song and dance one too many times?

So instead of having the same wine in new bottles, here’s some old wine that you may have missed or dismissed. These sometimes bargain bin stuff (most audiophiles think greatest hits are not great for hi-fi) are nothing exorbitant, nothing fancy and mostly un- reissued (sometimes). More importantly, these are good sounding stuff, great compilation that would sing in your system when your analog source is up to it. There’s just so much good-old music out there.

When I was small and Christmas trees were tall... The Atco version may be a tad harder to find (clean copy) but the RSO version (not even Polydor) was good enough for me.

Funky Machine Gun and Brick House are on this one along with the other 70s radio ballads. Even if you’re not a Motown fan (I’m not) this one you shouldn’t miss.

Like the Commodores compilation, this 1978 release have all the 70s groovy fast numbers that sealed the Doobies reputation. Side A

is especially enjoyable.

I think this has been reissued in 180g (MCA) which I can’t comment on its sonic as I do not have one. My version is the Reprise Records and it sounds very good to me. Like Bob Dylan, Jimi Hendrix’s music is never love at first sight. It just grows on you.

A little bit country, a little bit rock and roll. Ronnie Milsap LP has a lot to teach new artists (especially those in the new millennium). Solid bass and drum that’s not coming from your neighbour’s house, highs that’s as clear as a whistle and rich, distinct vocals that is singing to the listener. His 1985 Greatest Hits Vol. 2 has the same audiophile qualities. Comparing to records made today or the last few years, you’ll know its no walk in the park. What’s going on here?

Rarely do I find a record that’s been given full marks by allmusic.com. This one fully deserves its 5-stars and than some - perhaps another half-star for its pure sonic quality.

16 hits in this 2LP package from a legendary American idol.

Good sounding stuff in abundance. Don’t need no audiophile labeling.

Pirates of the Caribbean
30.Oct.09

The music pirates came a long way. Long before sexy-cool Johnny Depp’s showed us you can be a funny pirate with a heart, many of us were enjoying pirated entertainment in Singapore when we were kids. Way before the now free-to-stream illegal movies over the web, those young enough would remembered the trading of hardcopies Video cassettes (VHS), pirated cassettes and pirated LP. 

I remembered my first pirated VHS video was Deep Purple’s “California Jam”. After knowing its release at a video shop (2nd floor Peninsula Plaza), funds were immediately pooled from the sibling’s school allowance to buy this. Watching for the very first time our heroes (still are) playing “live” on our VCR was just an incredible and unforgettable experience.

Kids now would never understand how difficult it was back then to get your hands onto something like this. Rock music video like this was scarce, there was no alternative media or distribution channels to turn to. Even if original versions existed back then, it would have cost a bomb.

At S$70 (that took a lot of pocket money), this pirated video was still a bomb in today’s context. This VHS was purchased without any guarantee to play and without packaging. Anyhow, we were happy cats running this tape to death.

On the audio front, pirated cassettes came to our shores much earlier, with wider choices and affordability. At S$1.50 to S$2.50 a pop, music pirates were everywhere – from the sailor’s night spots of Bugis Street to Lucky Plaza. I picked up a lot of classic rock music and learnt quite a bit of this genre from this format.

The high-end pirated tapes Jack Sparrow would approve. Recorded using branded cassettes and some with full lyrics.

Pirated cassettes moved up up-market in the 80s with the use of higher quality cassette tapes (some were even duplicated on branded Chrome tapes) with better sound quality (dbx technology) and packaging. For those of you who frequented Supreme Record Shop at Lucky Plaza (3rd floor) or at their branch at level 2 of Plaza Singapura would remember the rows and rows of new releases from their popular SR and later SL label. I recalled it was some S$6 or 7 per piece and to a schooling teenager they were still luxury item.

An alternate album cover art for Osibisa’s very best? Not quite. They print what they like on the LP cover.

Pirated records complete this unholy trinity of music piracy back in those good old days.

The places I could remember buying pirated records in Singapore include the 2nd level shopping arcade at Old Airport Road (currently hawker center); the old shop house diagonally opposite of Odeon cinema (North Bridge Road), the stretch near the now defunct Roxy cinema (Selegie Road) and Geylang Serai.

Pirated records paled against the cassette tape sibling in terms of new releases - only popular and safe titles were cut. New and unproven bands never got to see the light. I could remember seeing titles The Eagles (Hotel California); Ritchie Blackmore’s Rainbow; Rod Stewart (Foot Loose and Fancy Free); Boney M (Night Flight to Venus) and plenty of Super Hits Vol. XI or Greatest Hits.

“Music Girl” label has all the pop/rock artists in their world.

The sound of pirated records were lousy – overly warm and fat but the vinyl is unusally heavy. I guess LP pirates left the scene in the late 70s, early 80s when affordable music cassettes players flooded the market with those stereo boom boxes with fancy EQ and disco led lights.

Ironically, the pirated cassettes I know were recorded using original records. Some years ago, a sizeable batch of original records were surfaced in the local resale market. News was that it came from the printers of these unauthorized cassettes (see picture).

Having purchased so many RC and UFO labeled pirated cassettes, I was quick to spot which printer it came from. Surprising, many test copies of their cassette sleeves, cassettes artwork were found inserted with the original LPs (their original sources). 

My new source after I turned over a new leaf...

Holding the original LP on one hand and looking at the pirated cassette version on the other (where the music was duplicated from), gave me a sweet and strange feeling. I felt I came full circle.

I am hopeful of the kids who are downloading and sharing music illegally now would come full circle too (like me). I started to buy original records after my father got us a Pioneer integrated system for our living room. Playing real records with all the readable lyrics and inserts were fun and still is. Now I find myself actively supporting and paying back my dues to this industry.

Porcupine Tree ~ The Incident
27.Sep.09

This is not a Porcupine Tree new lp review - at least not about the music content. There are many to be found in current music magazines. The current issue of Classic Rock (magazine) gave it an 8/10 but most Tree fans would just buy whatever Steve Wilson (SW) produces and plays anyway. Nobody cares about the critics when you’ve made it.

My copy of The Incident limited to 2000 copies worldwide arrived just the other day. Compared to Metallica’s very disappointing Death Magnetic premium pack (which I did not finish listening), I have high hopes on this one because SW has got the sonics right for many of their vinyl releases including the sort-after Coma Divine and Signify titles.
 
But there were 2 incidents...

Firstly, after I opened up the well sealed, thick brown carton box to reveal the heavy lp inside, in the top right corner of the lp set reads a proud sticker:

What?! 24-bit Audio files? I paid premium for this?

So this is the price of ordering pre-release before it hits the streets because there is just no way of finding out what the final product is. Like it or not, I have to accept most if not all new music is digitally done now (recorded/produced) - digital for lower operating overhead with convenience catering to the iPod age and Music servers.

The second incident was more “nasty”. When I flipped the package to look at spine of the custom printed pvc slipcase (nice packaging this is), I was expecting 3 lps because there were 3 separate picture sleeves. But when I unsealed the set to inspect the lps, there were only 2 inside...

OMG! Missing disc 3? I quickly checked the song titles printed on the back cover of the 48-page 12inch book. Lo and behold - nothing’s amiss. 2lp was correct. Phew, was I relieved. Just so you know, missing or getting a wrong disc in sealed lp is nothing new. A friend of mine received 2 discs of Side 5 of his prized Coma Divine. Someone out there must be crying like him to miss out an entire disc!

The 48-page 12inch book is printed on thick cardboard like paper but the content (pictures) is nothing new or exciting. I always find Porcupine Tree’s images to be rather dark and overall meaningless. It carries the same theme like those you see on Deadwing. I prefer those pictures found in Pink Floyd or Alan Parsons Project. Just in case you have the standard gatefold sleeve version of The Incident to compare, there is no poster in this 2000 copies worldwide limited set.

Recording wise, Porcupine Tree has produced yet another polished effort of new material (although somewhat predictable). It is streets ahead of Death Magnetic sonics wise in which SW has also expressed his dismal over latter’s sound in Classic Rock (magazine). Having said that, in my discussions with many rock music lp fans, I can conclude this - most standard, common vinyl releases of the late 60s to even the 80s would walkover anything you can find in the market today in terms of sonics. Why is that so is another topic for another day.

Good Sounding Greatest Hits LP
27.Jun.09

Greatest hits LPs to audiophiles are like most set lunch - it fills your stomach, does it job and nothing else. Most of the time, its more quantity than quality. Audiophiles are suspicious of where the sources are from to make up the collection and if fidelity would be compromised. I have had my fair share of greatest hits purchase in my exploratory years and here are 10 of them that I’ve found to sound as good as the original release (if not better).

In my LP-ing Etiquette article, I wrote that you should not be buying anymore greatest hits LP after you’ve crossed 50 LP. By your 51st LP I reckon you should have listened to enough samples and begin exploring the artiste’s in more detail. Also by that time you should also at least own most of these greatest hits.
 

A is for America. This History package is where most of us started our music journey with America. I didn’t realize the high quality production of this Warner Brothers LP until I returned to vinyl years later. The good sound may probably be due to Warner Brothers label which have had produced some of the best sounding artists on LP - Dire Straits, Rickie Lee Jones, Van Halen, Doobie Bros, Donald Fagen and so many more.  

This Best of Bread LP sounded better than any of their standard releases Why is that so I really don’t know. Out of the norm, out of the blue but just outrageously good.

There is no shortage of The Beatles greatest hits in the market but the one I would single out is this 2LP compilation set Love Songs. Even the often avoided local pressing sounds good to me. Of course, the UK version still rules. 

This 2LP set from Billy Joel is one of the all-time greatest hits best sellers along side the untouchable Eagles greatest hits (1971 - 1975). I find no degradation in sound quality in this package vis-a-vis his usual high standard normal releases. What’s more the hit “You’re Only Human (Second Wind)” is only found here.

My original 2-eye mono version of this Bob Dylan’s Greatest Hits (1967) was very good sounding. It would be tough to find another clean original mono or affordable copy now but the Sundazed re-issue of Bob Dylan is good news to all vinylphiles looking for a substitute. These are one of the few re-issues I would seek. 

I’ve heard this The Doors 2LP set in 3 different versions. The Japanese version; US version and the not so common French version. They all sounded good to me. 

I was introduced to Elton John via this LP. Only after I got hooked into this hobby did I realize that my dad’s all-in-one Pioneer Hi-Fi system that I must have played this record a few hundred times on it was no Hi-Fi. This first greatest hits sounded much better than the Volume 2.  

Fleetwood Mac is another good Warner Brothers artist that cut good sounding records consistently. However, I can’t say the same for their Rumours record unless you find yourself some hot stamper copy. Do a comparison of the Rumours track in this Greatest Hits e.g. “Dreams” and be surprised by this compilation for it showed how Rumours should originally sound.   

One good excuse to start your vinyl collection is to find titles you cannot find on CD. This Grand Funk Railroad compilation from Capitol is one such record. 1969 to 1971 were the prime years for the power trio. Just turn up the volume and pick up that air guitar!

James Taylor is one audiophile artist that doesn’t have to intentionally cut an audiophile record - they all sound consistently good or make that very good. The only thing missing in this overachieving greatest hits is the song Handy Man. Still, a perfect 10 after all these years. 

I thought I would stop at 10 but no greatest hits discussion is complete without mentioning this Mother of All Greatest Hits and surely is still one of the most expensive greatest hits LP or CD found in auction sites. You can literally “see” Elvis in his studio in this DCC re-issue if your hi-fi system is up to it. Avoid this in Chinese 7th month - you have been warned.

The Hunter Hunted
25.May.09

The original The Hunter LP by Jennifer Warnes (released only in Europe) must be one of the most expensive if not the most expensive pop/rock LP I know. A near-mint copy would set you back from US$300 to anywhere doubling that for a sealed copy. By the time I got into the bidding game, this LP has gone past sanity and has become one of my most-wanted pop/rock LP to date.

Now CISCO music has just released The Hunter in all 180g glory but still limited to 8000 copies (anyway, no LP pressing is unlimited). I just have to get my hands on not just one copy but two. 

Now the million dollar question – how does it sound? Despite all that has been written about 180g high-end, high quality plastic on super quiet surface, I subscribe to the old-vinyl- better-than-new old school. Somehow most new vinyl (re-mastered from old music) sounds less natural, less lifelike than the original. So to me the new The Hunter is a substitute and not a replacement of the original. Just to satisfy my curiosity, I borrowed an original copy (Dutch pressing) from my buddy and did a fair AB comparison. Once again, old school prevails and there is nothing in the new school for me to switch camp.

The one thing I do not understand in this reissue is changing the original monochrome cover art. The updated cover art lost that nostalgic magic for me. It is like watching a Charlie Chaplin movie in color – totally unnecessary. In fact, I find it to be quite a turnoff.

By all counts, this reissue is a bona fide audiophile release. With all the anticipated good press to come and pent-up demand, it should move fast. So audiophiles listen up - this one is here and now and don’t wait till it’s all dried up - like The Well.

Most Rotated 12” Singles
10.Jan.09

12” singles are not the most popular among vinylphiles because of its limited playtime and more often than not rehashed material from the A-side with B-grade fillers. But there is no denying the audiophile qualities often found in 12” singles. Here is my “Best of” or most rotated singles in my small 12” collections of about 100 pieces. Granted they all sound good and each has made a connection to me one way or another.
 

This song doesn’t fail to bring me back in time each time I listen to it. Back to my weekly update of Brian Matthew’s Top of The Pops (BBC Radio) over a humble National brand transistor radio (The Commodores “Machine Gun” being the radio show’s signature tune). Both the full-length (A-side) and the instrumental versions kick-ass (listen to the drum) and would sound fabulous even in modest turntable systems.



Next, Chaka Khan’s I Feel For You does the same time travel but now to the 80s with American radio’s Casey Kasem doing his American Top 40 thingy. An excellent track to test dynamics, fast, relentless pounding disco beat. 

If you just like THAT one song or from a one-hit-wonder, the 12” single answers the call. You can say 7” does the same but to me 12” is easier to handle and care for.

I’ve been looking for this track for as long as I can remember. The problem why it took me so long is because I couldn’t remember the name of the artiste. It finally came to me as a surprise gift from a fellow audiophile who didn’t quite connect to it. This 12” sounded great over 45rpm, the air surrounding Labi Siffre, the ambience of the studio and the strong, big choir chorus towards the end all coming in powerfully. 

This Prince and The Revolution 12” single “Kiss” should be relatively easy to find given that it was such a huge hit then. Sexy, funky, naughty and just damn fun to play. Towards the end of the extended single, catch the complaining woman who couldn’t stand Prince and asked his man to “turn that thing off”.

Genius at work.

This live version of “The Loner” (an instrumental) by Gary Moore runs for a generous 12 minutes. What’s so playable about this record is the emotion and realism captured in the guitar sound played to a live audience. I’ve heard the even more stunning test press version and this is perhaps the next best thing I can find.


Like most folks I have fond memories of the New Romantic era of pop music when “True” and “Gold” by Spandau Ballet were on every teenager’s walkman. This extended single of Gold is the one I would recommend because when you got a great song you can extend (stretch) it. A quarter century on, this is still treasure - pure Gold. 

Lately I caught The Police newest in concert DVD called “The Police: Certified” and it gets my vote for top 2008 DVD - simply awesome. Watching them playing together again was like seeing Pink Floyd brief reunion in London Live 8 few years ago - a moving experience. The highlight of The Police DVD to me was the song “Wrapped Around Your Fingers” which is the subject of this next most played single (sorry I digress). This 12” single version is of official length with nothing added or taken away. But goodness me, it is so good sounding that you can buy this today affordably and not wait for Analogue Production to remaster this into some 200g 4-sides 45rpm bonanza.

I wrote about this John Cougar Mellencamp Pop Singer single back in May 08 and will not repeat here. All I want to add is the often overlooked B-side of singles sometimes contains better stuff and surprises not found in the standard record.

The 2nd most span single in my pile goes to Depeche Mode’s Leave In Silence. I love the long version of the song for its lingering echoey, haunting and atmospheric feel to it. If you don’t like this song you can still use it to demo or showoff your hi-fi system.

No thanks to Wikipedia I now know that this is not a breakup song but a song about the Cold War. Eh... that’s not romantic.

Alphaville’s Forever Young is my all time favourite 12”. I am still trying to find a near-mint copy and know that it’ll not be easy given that it must had been played to death by DJ and disco functions during its heydays. This 12” single epitomzes a perfect 12” single - the standard version of the song; the alternate take - fast, danceable version (not a rehash) and an additional track “Welcome to the Sun” not found in the standard release. Not a filler you can find. An absolute 12” gem - And Diamonds are Forever.

Its so hard to get old without a cause
I don’t want to perish like a fading horse
Youth is like diamonds in the sun
And diamonds are forever

The Times They Are A-Changin’
2.Jul.01

Yes, I have done the ultimate – LP only. Silly? Smart? Lost? Brave? Call me what you like but back in the late 70s I once graduated from cassettes to vinyl. Its déjà vu and in it again, doing it all over again.

LP Sickness
Do you visit your favorite LP hangout regularly even though you have no intention of buying (but still end up buying)? Do you do an odd sniff inside of the LP jacket? Do you pick up your rare collectable, pull out the vinyl, admire the mint shine, and put it back? If you know what I mean, you have the disease. “LP sickness” is coined by one of my favorite pushers who dispenses drugs which does not cure – you just keep coming back for more. She claims there are patients (customers) who visit her store every day. I reply I am not that sick but her wicked smile appears to be saying - just wait and see. I am not about to challenge her authority after all she has the medicine.

Lost People
If LP is not Long Play, it could better stand for Lost Paradise, Last Print for Lunatic Patient? Yes, the Lost People of a lost tribe who think they know the truth. But truth is never universal. So, these old fashioned, oldies (senior citizens?) also do extreme things. In this absolute age of technology, compactness is the only acceptable design and space commands a premium and faster, better, more for the ever hungry and impatient. On the other side, lost folks return to the ancient where dirt (as long as its removable) is a norm, lesser playtime is not bothered, troublesome is enjoyable, shelf space could be bought and technology is for reviewers.

Johnny Walker White Label?
I love scotch whiskey and love them on the rocks. I know there are Red label and the pricier Black label. Recently, I had my first taste of the supreme, super expensive Blue label. I was told it is more than two times the price of a black label. Was it any good? Well, at that price point, my comments are irrelevant. Something as rare, equally premium, well sort after and no less expensive is LP on white label or promotional copy. White label to LP fans is quite special. It represents the first few, rarely played and probably (debatable) the better sounding version. It is illegal to sell promo copies but since the supposedly demise of LP, I am not sure if such activities would even raise an eye brown now. One thing I do know, it is absolutely lawful and lustful to own them.

VG is Not Good Enough
One other trait of playing LPs I picked up quickly is LP grading. Like the English language, there is no one standard, just close enough. At the bottom of the scale is the very wrongly coded VG+. Perhaps, the real meaning of VG+ is not very good for your stylus. At the top of the table of course is SS or sealed copy – the type that would make your hands tremble when holding. But sealed copy can still be tricky. How come? Well, it is so precious that you may never want to open it. Drawing from my purchase experiences, except SS, everything else is a rule of thumb or a touch of luck. Most sellers cannot afford to grade by listening. Some sellers grade conservatively and some the opposite for obvious business interest. I have copies of VG+ that excelled to be M- (or near mint) and M- that turned out to be VG++. But one thing for sure, buyers and sellers in the virtual world count on reputation. And this is sure goodwill they cannot loosely grade.

Hello Again
I am not about to tell you where you can find your LPs. I think you know where the drug stores are when you are sick. Even though there are thousands and thousands of old records out there and signs (not only talks) of a vinyl revival, temptations and a sense of “while stock last” sets in whenever you see one that you like. LP is beyond the musical content, it stretches to the cover art, the inserts, the readable lyrics, the times of your life when you first pick listened to it up all those years ago. Call me an old fart if you like but this oldie is not home alone.

Luna Coffee House (Zhong-shan, China)
23.Feb.09

Just before Chinese New Year, Oyster spent a short holiday visiting friends in HK and also made an almost impromptu visit to a HK pal who has relocated to Zhong-shan in Guangdong China several years ago.

After some 3 hours of bus journey from HK, Lincoln (host and owner of Luna Coffee House) picked us up at the main bus terminal with this rather interesting vehicle. Highly mobile, fuel efficient and one clever transporter that you’ll surely not miss in Zhong-shan.

An alternate record cover to GnR’s “Chinese Democracy” perhaps?

Luna Coffee House is situated within the new industrial vicinity of Zhong-shan. Lincoln serves many white collar doing western breakfast and regular meals. It was nearing end of Winter (Jan 09) but to this tropical guy I would prefer to take my seat inside.

Lincoln and his wife enjoy the finer stuff and that is reflected in this little cozy cafe. Word-of-mouth has it that Luna Coffee House serves the best quality sausages and coffee in the area.

Nothing quite prepared me when I went upstairs. A long hall with warm lights, English settings that could easily housed a few dozen people. On the rear end is Lincoln’s simple but full sounding hi-fi system to entertain customers. Guests are free to pick music they like - much like those wine bars with hi-fi system that you get to read about in Japan’s Stereo Sound magazine.

Lincoln is on the right (picture) while the camera-shy Yip of Mintlp.com is on the left.

Good food, nice ambient, relaxing music and great company. Nothing else more I need.

We thoroughly enjoyed this short but memorable trip - much thanks to Lincoln family’s hospitality. Like many other developing townships in China, Zhong-shan is busy building and modernizing. You can feel the buzz on the ground and the immense economic potential.