Classic Records Reissue: RCA Living Stereo LSC-2449 ... the rebirth of a legend
Gounod: Faust Ballet Music
Bizet: Carmen Suite
Alexander Gibson, conductor
Royal Opera House Orchestra, Covent GardenPressing: US, Classic Records 33 rpm 180g reissue
Condition: NM
Date first published:
Stampers: N/A
Performance: 10/10Sound: 10/10
Price range: $34-320 (mean $117) on popsike.com (stats include both 33 and 45 rpm reissues)
Comments: I am going to start by quoting Jonathan Valin's text, because his words very eloquently detail the sonic substance of this recording in its original shaded dog pressing:
"Widely regarded as one of the great RCA's, JB feels this celebrated disc is not as good as LSC 2225. Whether it's the equal of Witches' Brew or not -- and I guess ultimately I agree with JB -- this is still a fine recording. What does it sound like? Well, imagine a richer, more neutral sounding Walthamstow recording, then add a deep ground swell bass to what is already pretty tight low end and lightening strike dynamics and you may get the idea. No, this record does not have the full gold of Kingsway Hall; as a result strings are a bit drier and less voluptuous than I've heard them sound on other Deccas. On the other hand this disc does not have the often boomy bass of Kingsway. In fact it is slightly leaner, and (thankfully) clearer and deeper than your often boomy Kingsway strum. Transparency is superb. Ditto on imaging (which is very 3-dimensional). High end extension is simply outstanding - as good as the Facade, which is pretty damn good. A large cymbal is struck toward the beginning of the Funeral March of a Marionette, and I swear to you you can actually hear the flex of the metal as the ringing redounds across the instrument's surface. This is a remarkably realistic effect that I have ever heard on any other RCA -- in fact, I've never heard it this clearly on any other record. *But what sets this fine record apart in my mind is not the high end or the bass extension (which is deep), it is the incredible dynamic surge of the tuttis, where for once you almost feel as if you're getting the full weight of a symphony orchestra in your living room. I own no other RCA that exceeds this disc in this one quality. #6 on CBK's Top RCA list. (Contrary to CBK's assertion that there is just one pressing of this disc -- a 1s/1s -- I have a 6s side two)." Grading: 10++/NR/Very good to excellent.
While I have not had the pleasure or privilege of hearing the original (this is a call out to you, Meles and ejeden, who have both owned or still own this album, to comment and share insight), I'd like to think that the Classic Records 33rpm 180g reissue takes me pretty close to the aural bliss of this audiophile legend. This has long been considered one of the rarest, if not THE rarest, Living Stereo release, and as you can see from above, it also boasts one of the most impressive sound profiles of any classical recording. The reissue is dynamic as hell (no pun or allusion to the cover intended) with expansive soundstaging, extended highs and lows, and amazing imaging. What the reissue may also improve on the original is its sound/noise floor. The vinyl on this pressing is dead quiet, enabling a wealth of detail to emerge from a black background. I imagine that the original shaded dog must have a least some degree of low-level hiss, but I could be wrong. It's too bad that this is out of print, though used, near mint copies show up pretty frequently on E-bay. I'm curious to hear if anyone has heard the 4 LP, 45 rpm Classic Records reissue. The plum VICS reissue, which I used to own, is also pretty impressive.
There are quite a few Classic Records pressings. The original 33rpm was done on Grundman's polished solid state setup. The initial (and probably only) 45 rpm was done his then new tube setup. The million dollar question is what pressing might this be? I suspect it is an early 33rpm. Later pressings are 200 gram and absolutely tube Grundmann. I am sure this was put out on a tube pressing at 180 grams too as Classic blew out all of their early pressings very cheaply around that time. They certainly would sound very different.
ReplyDeleteSalvatore rates this on his basic list so I wonder about a sound rating of 10 for this. I own the original, early Classic 33rpm, and the Classic 45rpm. This is a fine reissue and I think better than my original, but I favor quite a few of the Classic reissues over this one.
I meant to add that Salvatore does not distinguish Classic Records pressings in many of his reviews, so he could easily have had their worst pressing of this.
DeleteBelieve it or not, I just weighed my pressing, and it's not 180 or 200g ... it's 190g!
DeleteWhether it was a 180g that was 10g too heavy or a 200g that was 10g too light, that I couldn't tell you. I have a feeling it was probably the former.
DeleteI have three of these versions from Classic, the original 33, the 180gm 45 and the red box Clarity 200. The 180/45 is the better, the Clarity is a step down, mostly due to the vinyl formulation which IMO was not an improvement.
ReplyDeleteHaha. There were likely two 33 rpm Masterings. The original would have been Grundmann solid state. The later 33rpm tube like the 45 rpm. Exhaustive comparisons have not been done on multiple systems, but right now the 33 rpm solid state pressing is preferred over the more washed out sounding tube 45 rpm version. This can all be very system dependent. Did informal comparison of original Rubinstein Paganini LSC-2430 with solid state classic and tube classic 33 rpm (a record I've always loved). With the Quadophiles (now defunct) jfet tube phonostage preamp, the tube classic was much better than the original which almost sounded ill on that system and a bit better than the solid state Grundmann classic. So much of this can be very system dependent. The only thing I'm comfortable guaranteeing is that the 45 rpm tube cut should be quite a bit better than the 33 rpm tube cut. Of course, Acoustics Sounds has their new RCA reissues which have been quite good even though the first RCA/Decca material is being recalled/reissued with new mastering.
DeleteI have two Classic Records reissues of this LSC, both have RCA Living Stereo labels but one has the shaded dog image, the other does not. Same red anf white graphics but no nipper. I have a Classic Records Witch's Brew with the same dog-less label. Why the different labels?
ReplyDeleteThat's an interesting question. I've also seen the same - labels with and without the dog. I'm not sure I know the answer to this. I'll ask my co-blogger Meles.
DeleteThe Nipper logo gives way to the EMI nipper in Europe. Reissues sold in Europe simply had a different label. Often times if you get an overseas Shaded Dog (or an EMI ASD sold in the US) they'll just cover up the shaded dog with a sticker on the the label and sometimes the jacket.
DeleteMeles, does that apply to Classic Records reissues as well?
DeleteIf i recall correctly, the export pressings were distributed by Alto, and were issued with the dogless label and many had an ugly banner sticker covering the living stereo banner on the jacket. I successfully peeled a few of these off, lol.
ReplyDeleteI recall stickers even on the old shaded dogs distributed overseas. I've got some without the nipper done by Classic, but I'm not sure stickers were always the case. I've actually got quite a few since those were blown out for $10 a piece so surely I can find one....and I found one with a sticker, but only on the back cover at the very bottom where it says RCA Victor; the label had no sticker and was just the red background in place of the shaded dog. Interesting that you have some with stickers; I'm pretty sure I don't have any.
Delete