Yes - Fragile Vinyl Reissue (May 2016)

I've never actually heard the LP all the way through before. But interesting to know about the sound.

 

Remember the GP CSNY vinyl I played for you? Just sayin'.

 

Finally managed to get a copy of this LP which I haven't heard since my cassette version back in my uni days. Following all the positive reviews on here and also scoring the Kevin Gray cut of Drama, I was expecting big things and wasn't disappointed. Beautiful analogue sound and great all round package. Heart of the Sunrise is one of my personal favourites and here I can engage with it on another level. Very clear instrumentation and nicely balanced. For those of you still without this LP, I picked mine up in HMV today in Bath, Somerset for just £13.99. It was £29.99, which was a bit steep. Get to HMV now!

 

I also got a copy this week for £13.99 (from amazon, bought along with another record so no postage costs overall). Excellent sound quality. My 70s pressing is rather worn and needed an upgrade anyway.

 

I wish he would do all the 70's Yes albums, especially Relayer. I can't seem to track down a good pressing of that one.

 

I was disappointed. The top end sounds pinched and sometimes harsh. A few cuts sounded good, particularly the quieter ones, but I found it mostly unlistenable.

 

SH and KG > KG

 

Wow, the KG Fragile cut is not in the upper echelon of best sounding albums I own, but for a 70's rock album it sounds damn good. If you found it unlistenable, your collection of rock music on vinyl must be very small

 

Well, not really. I found the top end really hard to listen to overall, grating.

On the other hand, there are TONS of great sounding rock albums -- Neil Young, Tom Petty, The Beatles, The Rolling Stongs, Joe Cocker, Santana, The Who, The Motels, The Pretenders, The Kinks, The Cars - just to name several.

 

I agree with you.

 

Must be system related. On my rig it sounds better than a lot of the bands you mentioned. Neil Young is another story though, some of his albums are definitely in the upper echelon...

 

I just did a comparison not too long ago and decided that I preferred the Steve Hoffman and Kevin gray version to the Kevin gray version however I think the Kevin gray version sounds pretty good I'm not quite down on it as you are.

 

I haven't heard the new KG version yet, but I own both an original (or at least early) white label US Porky cut with PR (Presswell?) initials, and the earlier AP pressed at RTI (I understand that the later repressings from QPR use a brighter mastering). Unlike Teag above, I strongly prefer the AP on my system. The US Porky definitely has more upper mids, which sound kinda harsh and shouty to me. The AP is smooth and balanced, with more extension at each end of the sonic spectrum. I can imagine some finding the Porky cut to "rock" more, but it sounds unnatural to me. From what people are reporting, it sounds to me like both the later AP and this new Atlantic cut are probably more in the direction of the Porky, so I'll probably refrain from getting them.

On the other hand, very direct personal experience tells me that such preferences are definitely system-dependent. When my tube preamp was being repaired, a local dealer kindly loaned me a much more expensive solid state preamp, and on that one, I preferred the Porky cut. The SS preamp had more bass and treble extension, but on most recordings the midrange felt comparatively bland and clinical, which caused me to go back happily to my less expensive tube preamp. The moral of the story is that those with more "lean"-sounding systems may prefer the originals (and/or one of these new cuts), while those with more "tubey" systems may prefer the AP.

 

I have a Porky and the tonality of the new KG cut is very, very similar ... almost as though he followed mastering notes left in the tape box.

 

I am reposting my review from December in this thread, in case anyone is interested. You can see my system in my profile, if you're interested in that as well:

Listening again to the Rhino/Kevin Gray reissue of Fragile, I think it sounds a bit weird. I don't know if that's a matter of the recording or the mastering.

First of all, there is little bass depth or presence. During "Long Distance Runaround", you hear a bit of bass depth to around mid-bass. And then there's the lack of real macro-dynamics. There's no kick or impact from any of the drums. There's no smack from the snare drum. The bass drum sounds like the drummer is striking a large pillow. Everything sounds squashed. The midrange may sound open, but the sound never opens up volume-wise (and I mean volume = capacity, fullness expanding outward).

When the solo acoustic guitar does that classical sounding line at the beginning and later in the song, tonally, the guitar sounds pretty natural, rich, and open. But then when the band comes in, the guitar retreats and become thins sounding. In fact, there is sort of a slightly watery quality to the upper mids and highs. I rarely get a sense of weight to instruments nor a depth and reality to the soundstage. Everything tends to sound rather flat within it.

And as I previously mentioned, when things start to get dense, the sound doesn't open up, it just gets congested, as though the vinyl is just getting oversaturated. The sound starts to get unpleasant. There's no way you'd want to crank this recording.

I'm wondering if the AP has more depth. I could see where there is potential in this recording, but don't know whether the mastering or the recording is limiting it. It's almost as though Rhino decided to put out a version of Fragile which will sound good on budget turntables. No deep or impactful bass. That will make cheap cartridges jump. And no dramatic dynamic passages. That will distort as well. Make sure the midrange tonality is good, though. And cut loud enough to be above the sound of any crappy vinyl that might be used with this less expensive release.

 

Standard price is £30 here in England. That is not cheap.

 

I've got an early 70's GP cut that does sound better, but unfortunately has inner groove distortion on the last tracks on both sides. That said, its not night and day, and the tonality is similar. I've got other pressings from the 70's and 80's that don't compare to either. Can you tell I love this album? Lol. @AnalogJ, I wonder if you just don't like the recording?

 

Waited too long to edit. The early pressing is a Porky cut. I also have a GP cut from the mid 70's that is also good, but kind of thin sounding.

The KG cut is a little better to me at normal listening levels, the Porky is better cranked

 

Well, in some ways, I don't bring a lot of history to listening to this other than my ears, my lengthy and varied history in listening to a variety of levels of equipment, and being a sometimes professional musician with a degree in music and experience performing, including conducting an orchestra.

However, I haven't heard Fragile, itself, a lot, other than hearing it on the radio and owning the live Yessongs. So my critique of the sonics of the album comes from knowing what my system is capable of as well as knowing how good other rock albums can sound, including prog rock. The Classic Records reissues of Peter Gabriel's albums sound effingTAStic (liquid, dynamic, warm, engaging, exciting). I have the first two Phil Collins solo albums on UK vinyl. They both beat the pants off the US copies I previously had. They are big sounding albums. And you should hear Doug Sax' mastering of any copy of The Motels' Only The Lonely. It's demo quality. You should be able to find a copy for a few bucks. I have 2 copies -- a normal release and a promo copy printed on Quiex vinyl. Both are actually quite quiet and sound amazing. The music explodes from that record with great dynamic range, and images are HUGE. The voices - real and in your living room. Top end is liquid and not overly bright (which can be a problem with '80s overproduction - not here). Bass is extended and tight.

Compare that description with my description for the KG mastered Fragile above.

 

That should tell you something. If a record sounds worse cranked, in my experience, that louder volume brings out the defects of the recording, other than when it's cut too low. Over-brightness, for example, may sound okay at low volumes, but can sound intolerable when loud. The same thing with harshness.

 

Listen man, I wasn't questioning your ears, gear, knowledge or background with my post. I hate how things get misunderstood online. I was just wondering about your familiarity with the album.

To me, the KG cut sounds like Fragile. It doesn't sound overly compressed or squashed. A little brighter? Yeah, but still enjoyable. The original pressing I have is a little less hot, and just slightly more mellow, which I think makes it more crankable.

 

Another thing, I've been an audiophile for over 30 years. I run a Vintage rig now, but ran high end components for years. Spectral separates, Oracle turntable, and theta dac and transport. I've come full circle because I just enjoy the vintage rig more. I love the chill, laid back and non fatiguing sound, not to mention the looks and memories from when I was a kid in the 70's

 

Sorry if I took out the wrong way.

But I was also trying to say that I was approaching my review in a more absolute sort of way as opposed to comparing it to other pressings of the same album. The thing that frustrates me about that pressing is that given that certain aspects sound good, other aspects are so below average to my ears.

 

All good my man. I kind of feel that way about a lot of my favorites. They can't all sound as good as James Taylor, Neil Young, Steely Dan, etc... although I wish they did lol

 

So, has any sort of consensus been reached on this LP? Plum UK best, then???