It features one of the most iconic images in rock and roll history. The late rockstar purportedly performed the song over the phone while proposing to his future ex wife Angela Barnett.
This special promotional copy of the ABBA single was only distributed to those within the record company. Only copies were ever printed of the elusive red vinyl. The swedish band from Stockholm are one of the LP) commercially successful musical group of all time. Sadly, both marriages could not with stand the pressures of stardom and success. This single, which was reprinted by Paul McCartney himself is worth a heck of a lot of money. Supposedly, McCartney only had 50 copies printed for his friends and family.
Fans of classic horror movies have definitely heard this band. They broke out after changing their name and recording the soundtrack to Proffondo Rosso Deep Redthe debut film by legendary Italian director Dario Argento. They went on to do several more successful collaborations with Argento and some of the most iconic soundtracks in horror cinema.
The label reportedly got nervous upon noticing the back album cover depicted the bottom half of a dog — genitals and all, so they had the offending parts airbrushed before release. A few enterprising employees made off with some originals. You can tell if you have the rare UK export by checking for the yellow and black Parlophone Records label. The catalog number is PPCS Bonus points if it has the gold sticker on the back.
Abbey Road was the 11th studio album released by the legendary quartet from Liverpool. Scotty Moore soon joined LP) on guitar. This caught the ear of producer Sam Phillips, who quickly pressed record. Many historians consider this to be the first true rock-n-roll record ever made though this is the subject of heated debate. Despite their incredible influence, the discography of the band is quite short—they only recorded four full-length studio albums.
Roky Erickson, the legendary guitarist of the band suffered from paranoid schizophrenia, which caused his career to take many twists and turns. Eventually he was able to get effective treatment and the band was able to reunite in Erickson passed away on May 31, The Beatles famously recorded this album in a rush. They had only four songs recorded by the time the deadline was nearing and had to record seven songs in one day — a process that took nine hours and 45 minutes. Both mono and stereo versions are rare and valuable, but the stereo version fetches the highest price.
The original UK version of the album featured a graphic of a white speaker with soundwaves emanating from it, set on a bright orange background. The cover design was scrapped, replaced by the photograph of a loudspeaker in the middle of a desert that new wave fans are familiar with, but not before a few were printed with the old design. It goes without saying that these copies are extremely rare. There were only 16 copies of the second pressing of this compilation album.
As you might expect, this led to a tense legal battle that lasted several months. By the time Elvis Presley made Speedwayhe was nearing the end of his acting career. The film was not well received by critics or at the box office. Rumor has it that only copies were printed. The agent assigned his case is played by none other than the beautiful starlet Nancy Sinatra, and the pair quickly fall for each other. When it became clear that Capitol and EMI wanted no part of the record, which featured an overdub of philharmonic strings done by George Harrison himself, the Beatles decided to put it out themselves.
The record was later given a proper release innearly half a century after it was recorded. They can go for up to 5 grand.
Bernie Taupin, who collaborated with John on many of his biggest hits was credited for penning the lyrics, though Elton John would later admit that John had written the song by himself. He gave Bernie the credit to help him get his first publishing royalties. If you think you may have a copy lying around somewhere, now would be the time to start digging. Though met with critical acclaim, neither the single or the LP sold particularly well at first. Did you think classical music would be left off of this list?
Record companies would often enlist the help of relatively unknown artists to provide the album art for their classical and jazz releases. This particular album cover was drawn by a certain starving artist that was destined for stardom.
His name? Andy Warhol. There are only seven known copies of this record in existence. Half soundtrack, half dialogue recording, this record was scrapped when Herman Wouk, writer of the novel on which the critically-acclaimed film was based, threatened to never allow the studio to use his work ever again if they released the album.
Wouk was furious at what he saw as blatant theft of his intellectual property, since the B-side of the record was a recording of the climactic courtroom scene, lifted verbatim from his novel. Columbia agreed to halt the release of the album and destroy all copies. A few employees filched some copies before they were demolished — there are rumored to be close to a dozen that survived. There were 25, copies of this single pressed. In a story that since become punk legend, the Sex Pistols terrorized their label so badly that they were dropped six days after signing the record contract in a publicized ceremony in front of Buckingham Palace.
The very limited Australian edition on translucent vinyl is said to only have 50 of its kind — though only a small handful have surfaced over the years. The song references the assassination of Martin Luther King and the civil rights movement, but Bono says he could have better fleshed out the lyrics.
According to him, the Edge and producer Brian Eno convinced him that keeping the lyrics vague would allow the song to resonate deeper with non-English speakers.
Rumor has it that Olivia Newton-John hated the way she looked in the picture printed on the front of the disc so much that she had the record company stop the pressing.
Between 20 and 30 records survived. Jazz fans rejoice! There were between and 1, copies of this record printed inbut a small variation in printing makes one particular version especially valuable. The story goes that famed jazz record label Blue Note ran out of labels when printing the record. In theory, the other version should be worth even more. According to blues legend, Johnson met with the devil at the crossroads between Highway 1 and 8 in Mississippi. There, Johnson traded his soul for the ability to master the guitar.
There were only 15 copies of this record pressed, and the cover of each was hand-painted by Dave Buick, founder of Italy records. The copies were made for a Detroit record release show for the band inas the fledgling band was on the incline, destined for stardom.
Hopefully, you kept it safe. The record label that handled the release, Tiger Lily, was a tax scam operated by the mob. The scam worked like this — a large portion of records would be pressed and later written off as unsold.
A few of these records made it into the right hands and achieved cult status. The pressing of the record that is particularly valuable, however, is one that features a stencil rendition of the front jacket painted by none other than notoriously elusive street-artist Banksy. There were only of these limited edition hand-spray painted versions made, with several different color variants. The record label decided to be cautious in the wake of the controversy and political turmoil and ordered the records destroyed.
You may remember this record from an episode of Pawn Stars. The price was deemed too steep for the vinyl, which was not in the best shape. One lucky Canadian record collector picked up a copy sans the Warhol artwork-adorned sleeve for 75 cents at a flea market, but this was no ordinary re-pressing.
The acetate record ended up being a test pressing that featured early versions of many of the songs — there are only two in existence, and one belongs to former Velvet Underground drummer Moe Tucker. Gordy ordered the pressings destroyed. Do we not play our records because they will eventually wear out? Of course not, we play them and enjoy them! If the master tapes are good, they need to be used. They need to be heard in their warts and all analog glory. What is the exact point of locking the tapes up in a vault if they are simply going to deteriorate with every passing year?
For me, that's one of the key take-aways from your article, as far as Exile is concerned anyway Mikey, Thanks for the ongoing LP) of information about all things analogue your site provides! I read the first three paragraphs and stopped when I read "I have already explained why I feel this method is superior. There is a real risk that any advantage gained by half speed cutting is lost in equal measure by losses and other unpredictable problems in the low end and potential inaccuracies with the high end".
Come on, that digital transfer they received was sourced from the Master analog tape in the first place, so any "low-frequency roll off" will be on the transfer already. Why don't they just admit that they could not get the 2 track Master Tape, or they don't have the equipment to master the analog Master. Why not contact MOFI, they can half speed master analog tape for them. He mentions when he does tape transfers he uses an Ampex machine so the roll off doesn't need to be done.
I read cutting from digital is better, I read where transferring from tape was used. So which was cut from tape and what was cut from a file? Um no, I disagree it's not primary here, there nor anywhere. Overall I'm not satisfied the questions were answered, sometimes at all and other times not with the understanding we have about fidelity. Issues of particular technical problems are typically not the sorts of things the overall sonic character is about.
The only viable response there was with the master that had been damaged with clicks. If the digital source is the same as the previously squashed one you can just about bank on the new one being the same way; it's de rigueur at the labels.
I've read more than once how modern mastering engineers don't "get" to do much anymore regarding levels and simple EQ because they're provided a "perfect" file. We'll know soon enough.
Mmmm, her gorgeous eyes. Why would it be a requirement for him to hear the Artisan cut of Exile? Unless he was head of the project to cut Exile at any point I don't know why that would be a requirement or a big deal that he didn't.
Because that's the standard by which this reissue will be judged. Something that ought to concern any good re-mastering engineer. My point still stands. He ought to know what original pressings sound like The Bob Dylan latest in the bootleg series is a case in point, that sounds pretty good. The sound does not however in any way compare to the '60's originals or the recent MoFis.
I'm also surprised that Mr. Showell has not not listened carefully to an original Artisan. It's not like they are particularly rare. Lots of English pressed Artisans around too. They all sound great. Assuming you have a good cartridge of course.
That original Artisan cut is the reference. With Exile you are reissuing a record which is in the top ten of Rolling Stone magazines best albums of all time, one of the Stones best three or four records, depending on your point of view, a record which basically everyone knows and new people are discovering all the time. The last reissue - from "Masher" Marcussen - was unlistenable.
Literally, it's awful. The only good thing about the package was the photo book which came with it. That alone made the purchase worthwhile. But again, only 2. Do we know which of these, if any, are mastered from analog tapes?
I see the info for Who LPs specify they are "re-mastered in format," however, other titles make no mention of their source. No volume compression - they have some of the highest dynamics of any classic rock converted to digital. I hope this means the upcoming half speed masters will be made from those excellent digital masters since they aren't going to do them from tape anyway.
I have been wanting to get the half-speed Abbey Road "Ghost", but haven't seen any indication as to what the vinyl was cut from. The SACD does sound good. But I don't need a vinyl copy of the same mastering. Mastering it from analog again would be worth buying. Universal has not had a good track record releasing vinyl--they had an earlier Back to Black reissue of "Zenyatta Mondatta" that is a sonic turd. No dynamics, rolled off highs. My original LP trounces it.
With my vinyl copies of Exile On Main Street. My copies of Solid Air are much more worn then Exile. I first heard Solid Air as a DJ in college and have been hooked ever since. I'll be watching for Michael's review and hoping for an So, I have a vinyl collection in the 's spanning from 50's to Latest New release, I still buy a lot of new music that is originally recorded all digital some of it is electronic music.
Way up top in my first post, the tough question to ask and get an answer is why the 24bit master is mastered badly with compression, bad EQ, loud volume It also seems that a lot of us are good with digital recording. CDs sux soundwise because they are truncated from 24bit, the vinyl in my collection always beats the CD. I can easily tell when the digital file has been well mastered for vinyl.
I also find it un-acceptable when an artist from the 60s or 70s wants to approve the reissues, their ears SUX!!!!! Can someone post the link for the vinyl for sale on the site? Can't seem to find it. Very interesting interview. Technical details, open communication except the 1st answer re Exile's masters. All of that is great. The real thing, though, is how these will sound.
I don't care what the source is, what the process is, what the equipment is, who the engineer is, I just want the record to sound as wicked as possible based on MY own expectations of what a record should sound like on MY stereo. My hunch is that the original releases are the ones to get, but I might give Exile a chance for the sake of having it I bought this version and am very happy with it. I truly hope that these Abbey Road Lps sound as good as the Tommy, but I'm not holding my breath and I will not purchase any of them until i've read Michael's review of one of the titles.
I was just lucky enough to buy a original copy of the Artisan Exile on Main St so I won't be picking up that one anyways and yes it is that good! Michael, good job on getting to the bottom of this one for us. In my opinion, they're not good. They seem to be okay in quieter passages, Never Die Old - The Planet Smashers - Mixed Messages (Vinyl, with spaciousness associated with 45rpm records, but they don't have the rich harmonic tonality of the Classic Records series 33 or 45and they get congested and harsh when they get loud and dense.
The Classic Records editions sound much better as long as the vinyl sounds reasonably quiet. That Classic Records reissues can be expensive is not the point. Real World Records decided to do the PG reissues from digital masters rather than the analog masters. At least with '70's and '80's material, due to the degradation of the tape stock used.
The Queen l. It would help if good reference copies were used, but that wasn't necessarily Miles' job. This is typical Universal blowing smoke over the mirrors Who's doing that? Sadly, a guarantee of mediocrity. You can sink your marketing budgets into promoting how you took the tapes to Abbey Rd, blah blah blah but all that work is wasted if you press the vinyl poorly. Record companies are hilarious GZ Vinyl presses crap.
I had my first set replaced due to all the scratches and scuffs on these brand new records, and the second set was no better. I could not even "Frankenstein" a playable set together. What a waste. Get great mastering, and waste it on an inept pressing plant. Typical Universal cost-cutting Contact me for booking.
I would like to offer some information that may be helpful to Abbey Road. Miles Showell indicated that extended response heads are not available for Studer As and that an Ampex ATR is not capable of cutting all analog masters. Also, as you may know, ATR Services atrservice. I believe this is the machine currently in use by Ryan Smith. The article talks about frequency response from 10Hz! Best of luck to Miles and the Abbey Road team on their latest LP remastering efforts, and I hope this information is useful.
If you happen to read the magazine TapeOp which is free by the way and read endless discussions about which mic, where to place it, which compressor, DI or from the amp, etc.
One thing that has confused me since talk began last year of meticulously remastering "Exile. So much for moral rights of artists. And, yes, I read the comment about the musicians approving the results. Me, I'm waiting instead for "Disreaeli Gears. And let's see if they can reproduce that crazy day-glo cover. The lower price for Disraeli Gears is likely because of its play length and it should be noted that the product page visit thesoundofvinyl. These issues look really nice and true to the original UK issues based on my recollectoion of 45 years gone by and reasonably priced here in the UK [cheaper than the UMe series].
Alas I do not have originals to compare to, and my memory says that the sound was lackiing in that critical something anyway but playing bits of both these tonight uncleaned as yet i was left underwhelmed - quite a clear sound but lacking body, dynamics and bottom power that I was hoping for. The new Them reissues have more life even with poorer recording.
I don't recognise the deadwax scibe of these - at first i thought it was a KG scribe as it has some similarities but if it is it is not his normal scribing. This might be of interest. Miles Showell featured in The Independant. Here's hoping you'll get your hands on one of the albums for a review, I'd be very intrigued to hear your thoughts, as I and many others are a bit skeptical. Search form Search.
Analog Corner. News News Analog Gear News. I want to thank him for taking the time to do so. Please read. And please, keep your comments civil and respectful. I think Mr. Log in or register to post comments. Half speed mastering means sample rate Submitted by Ktracho on Thu, It Means Submitted by Michael Fremer on Thu, From what Mr.
How he sample converts files he's sent as in the case of The Stones, I'm not sure Sample conversion not needed Submitted by Garven on Mon, You can tell a lot of care Submitted by jimhb on Thu, Ooops, no mentioning of DMM - my mistake!
Submitted by Bernd on Thu, To apologize. Useful information. Tough questions? Submitted by Catcher10 on Thu, Submitted by Chemguy on Thu, You're right Submitted by fdroadrunner on Thu, A Few Things Yes, the headline was "click bait". I live and die not literally fortunately by web traffic.
Both Michael and Mr. Showell make a lot of sense Submitted by OldschoolE on Thu, Genre Submitted by Catcher10 on Thu, The time to transfer old tapes is now. Submitted by Jim Tavegia on Thu, Here's hoping Submitted by thomoz on Thu, Submitted by vinyl listener on Thu, I am in no way qualified to Submitted by fetuso on Thu, Just a couple of other points Submitted by fetuso on Thu, I couldn't agree more Submitted by Erin on Tue, Are the owners of the tapes keeping them simply as objects to be looked at?
Brilliant Erin Submitted by melody maker on Tue, Brilliant Erin. Get a bunch of somethings to determine how Exile should sound Submitted by Dpoggenburg on Thu, Digital Smigital Submitted by elvis on Thu, I agree Submitted by J. Carter on Fri, Confused Submitted by my new username on Thu, He's never heard the Artisan cut of Exile???
Submitted by Spewey on Fri, He oversees mastering at Abbey Road and has never head the Artisan cut of Exile. Let me repeat He oversees mastering at Abbey Road What's your point?
Submitted by J. Because that's the standard Submitted by Superfuzz on Sat, True except Submitted by J. Carter on Sat, This is true but he isn't the re-mastering engineer for the LP). He "oversees" the entire re-mastering project. Submitted by Superfuzz on Sat, Classic defense strategy. Kenneth Lay tried it at his Enron trial.
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