Japan Mini LP SHM-CDs - New Releases, George Harrison and more

Billy Joel - The Stranger [Cardboard Sleeve (mini LP)] 40th Anniversary Deluxe Edition (SACD 5.1ch Hybrid Edition 7-inch Cardboard Sleeve) [Limited Edition] ("December 26, 2018")

"40th anniversary edition of "The Stranger" from Billy Joel features SACD Hybrid format with 5.1ch surround on SACD layer produced by Phil Ramone. 2ch voice track features 2011 digital remastering by Ted Jensen. CD layer includes five bonus tracks taken from a concert held at Nassau coliseum in 1977. Disc 2 includes live tracks taken from a concert at Carnegie Hall in 1977 which is included in "The Stranger" 30th anniversary edition and this disc features Blu-spec CD2 format for this release."

The Stranger [Cardboard Sleeve (mini LP)] 40th Anniversary Deluxe Edition (SACD 5.1ch Hybrid Edition 7-inch Cardboard Sleeve) [Limited Edition] Billy Joel SACD

 

Thank you for catching up.
Although I missed it, we talked about this release after its announcement:

And it looks like this:

 

How is the sound on that Stranger issue?

 

- edit -

7" Mini LP Hybrid SACD series
(Complete list with the year of remastering)

March 26, 2014
(Sony; 2014)
Jeff Beck Blow By Blow (4.0)

Aug. 27, 2014
(Warner; 2013; 2.0)
Yes S/T
Yes Time And A Word
Yes The Yes Album
Yes Fragile
Yes Close To The Edge
Yes Yessongs (Live)
Yes Tales From Topographic Oceans
Yes Relayer
Yes Going For The One
Yes Tormato
Yes Drama
Yes 90125
Yes Big Generator

July 20, 2016
(Sony; 2016)
Jeff Beck, Tim Bogert, Carmine Appice S/T (5.1)

July 27, 2016
(Sony; 2016)
Jeff Beck Group S/T (5.1)

Nov. 02, 2016
(Sony; 2016)
Jeff Beck Wired (5.1)

Jan. 18, 2017
(Sony; 2016)
Jeff Beck Rough and Ready (5.1)

Apr. 19, 2017
(Sony; 2017)
Santana Lotus (3 SACD; 4.0; Complete Ed.)

Sep. 27, 2017
(Sony; 1999)
Carol King Tapestry (5.1)

Nov. 01, 2017
(Sony; 2011) Cancelled
Simon & Garfunkel Bridge Over Troubled Water

Nov. 22, 2017
(Universal 2018)
The Rolling Stones Their Satanic Majesties Request (2 SACD; 50th Anniversary Ed.)

July 25, 2018
(Sony; 2017)
Air Play Romantic + 3

Aug. 8, 2018
(Sony; 2018)
Miles Davis Bitches Brew (2 SACD; 4.0)

Oct. 17. 2018
(Sony; 2011)
Billy Joel 52nd Street (40th Anniversary Ed.)

Nov. 16, 2018
(Universal; 2018)
The Rolling Stones Beggars Banquet (2 SACD; 50th Anniversary Ed.)

Dec. 26, 2018
(Sony; 2011)
Billy Joel The Stranger (SACD; 5.1 + Blu-spec CD2; 40th Anniversary Ed.)

Dec. 18, 2019
(Universal; 2019)
The Rolling Stones Let It Bleed (2 SACD, 50th Anniversary Ed.)

Jan. 22, 2020
(Sony; 2020)
Miles Davis Live-Evil (2 SACD, 2.0, 4.0)

 

(Continuation to posts No. 948-9)

Two British brass rock bands were also included in the British Prog Vol.1 – later classified as a prog sub-genre, Jazz Rock.

Heaven
(translation)
Brass Rock 1 [Blu-spec CD2] [Limited Release] / Heaven
“Heaven of the heavy brass rock band that appeared at the Isle of Wight Festival, the only album. The volume of 2 LPs produced by 9 people including the horn section will be heard at once, with its unfolding development and masterpiece performance. An extraordinary rare board that attracts attention as well, with a six-sided jacket by a talented Keefe.
● 1971 work ● Japan's first CD and first paper cover ● Artwork: Keefe ● Paper jacket (E-type semi-double jacket) ● Inner bag ● Remastering”





The first to release this album on CD with a new remastering was Esoteric Records, UK in 2010. They wrote:
“Heaven, a jazz rock group from Portsmouth, burst forth onto the British rock scene in 1970 when they appeared at the legendary Isle of Wight festival sharing a bill with The Who, The Doors, Jimi Hendrix et al. Making a stunning debut, the band (now managed by festival organizer Rikki Farr), soon secured a recording deal with CBS Records who signed the band for a large advance. The resulting double album "Brass Rock 1" appeared in 1971, adorned in a lavish fold-out sleeve. Well received critically, the album failed to achieve the expected success and Heaven soon disbanded, leaving behind a fine example of classic jazz rock.”

Reviews

“HEAVEN was a short-lived jazz rock band from Portsmouth formed around the year 1970. The nine-member group featuring five members in the horn section made their live debut at the Isle Of Wight festival after which they were approached by a record label CBS Records who at the time specialized among other genres for brass rock. The group only released one double album on said label which can be recommended to fans of bands like early CHICAGO or BLOOD SWEAT & TEARS, combining progressive brass rock with a more accessible blues sound.”

“Horns... As suggested by the name of the album, what we hear is brass-rock - exactly the kind of music one expects from the group with so massive horn section, including five people playing different kinds of saxophones, trumpets, trombones, clarinets, flugelhorns, flutes and so on. Besides this, there are also piano, drums, guitars and bass, plus some vocals in most tracks, which together sounds like a mini- orchestra. The vocal parts remind me of such groups as If or Colosseum. The music is pretty variate, from some (almost) hard-rock played energetically, where guitars and drums are dominating instruments, supported by the furious horn section, to some pastoral motifs (like in "Morning coffee"), where the mild sound of a flute is the prominent one. Although there is nothing groundbreaking in their music, the overall feeling after the listening is quite nice, if you like jazz-rock in general and brass-rock in particular, of course. So those who like the prog from the early 70s should pay attention to this album.”
(progarchives)



This sampler provided by Sony sounds better than any sampler I could find.
Number One (Last Request)

Heaven - This Time Tomorrow

Better than Chicago (sorry about that).
Heaven - Morning Coffee

Heaven- Funny Lines.wmv

This double album is now under consideration for my next order. I expect an extraordinary cover that costs $5 more ($24.69).


Fair Weather
Beginning from an End [Blu-spec CD2] [Limited Release] / Fair Weather
“Fair Weather's first album formed by members of the Amen Corner, a band that boasted explosive popularity in the 1960s. A masterpiece with a sense of stability and veteran performance, with English-style pop melody intertwined with American swamp-like rhythms. Includes 6 bonus tracks that cover single songs.
● 1970 work ● Japan's first CD and first paper jacket ● Artwork: Keefe ● Paper jacket (E-type semi-double jacket) ● Inner bag ● Remastering”





Esoteric didn’t miss this band either:
“2008 digitally remastered and expanded edition of the Prog band's self-titled album featuring six bonus tracks. Following the demise of Amen Corner, Andy Fairweather Low and fellow musical cohorts Blue Weaver, Clive Taylor and Dennis Byron underwent a musical transition into the band Fair Weather. Heading into a Progressive direction, the band adopted a harder edge and were the first act to sign to RCA Records' Progressive imprint Neon (an attempt to rival Philips' Vertigo label). Perhaps the most successful Neon signing, the band secured a UK Top Ten hit with 'Natural Sinner' before releasing their sole album, Beginning from an End. Although the album was a success in Europe, Fair Weather lasted a mere 13 months before disbanding.”

The music definitely has R&B and Funk vibe:

You Ain't No Friend

Road to Freedom
Instrumental
Looking for the Red Label

Poor Man's Bum a Run

 

(Continuation to posts No. 948-9 and 955)

Centipede "Septober Energy" and "Blueprint" are two more albums included in the British prog Vol.2 (part 1). They were the project and solo efforts of pianist Keith Tippett (on King Crimson's first 3 albums). He moved to Avant-jazz territory, which I cannot discuss (due to my incompetence in this field).

But what is surprising here is not music as such, but how it was done before and now by Sony. Please read the review below to understand what I mean.

“Keith Graham Tippett - Born 25 August 1947 (Bristol, UK)
The first time progheads (and the rock world in general heard) the name of Keith Tippett and his unique piano was on the KING CRIMSON single of Cat Food in very early 1970, and it created a shock. Obviously, most observers could see that the then-unknown (to most anyway) Keith Tippett was obviously an excellent pianist, but his style left many astounded, but also turning away many. But those intrigued enough, probably sought who this weird guy was. A Bristol-born cornet and pianist, who met in 67 in the BS Music School, Elton Dean, Nick Evans and Mark Charig, forming the Keith Tippett Sextet, that played to some success in London's 100 Jazz Club. Keith Tippett would also be signalled that year on BLOSSOM TOES' two albums as well as being determinant in the SOFT MACHINE's change of musical direction towards jazz-rock, since the group became a septet, using three of Tippett's collaborators.

Indeed, the names of Mark Charig, Lyn Dobson, Harry Miller, Roy Babbington, Elton Dean and Nick Evans should be familiar to many progheads, yet most of them had their "rock world" start with Keith Tippett and his first group. When his first solo album came out, "You Are here... I Am There" on the Phillips label, it was yet another shock as their awesome jazz-rock was at least on par with MILES DAVIS, HERBIE HANCOCK or IAN CARR's NUCLEUS, and further ahead than was Soft Machine. Funnily enough the KTG inversed their Phillips trajectory to Gracious and XXXX by having their second album on the legendary Vertigo Swirl label, while the debut was on the generic label. Titled "Dedicated To You, But You Were Not Listening" (a Soft Machine tribute), the album was certainly not easier on the ears either.

A good part of Keith Tippett's group would find themselves playing the horns on Crimson's Lizard and even on Islands, despite the presence of Mel Collins, who was alone during the tours to fill the horn dept. This wouldn't be the only collab between Fripp and Tippett as the former also produced the only album of the latter's huge group concept of CENTIPEDE. "Septober Energy" is probably one of the most controversial albums ever, with the group consisting of up to 50 musicians including all of Blossom toes, part of Soft Machine and many jazz-rockers present on the British Isles, even including the amazing JULIE DRISCOLL, whom he would soon marry and her taking the name of her husband, but adding an "s": she'd become known as Julie Tippetts since.



“From Julie's solo album "1969" (recorded in 1969, released in 1971). This slide show features photos of Julie from her early days with Long John Baldry in the mid-1960's, with Brian Auger's Trinity in the late '60's, and one dating from the early '70s. I loved her work with Brian Auger, but this track is my favorite of the solo work she's done. This track features Julie on acoustic guitar and her future husband Keith Tippett on piano.” (comment)
Julie Driscoll-"Those That We Love" (1971)

My favorite by Julie Driscoll from album Streetnoise 1969
“It includes cover versions of The Doors "Light My Fire", Nina Simone "Take Me To The Water", Laura Nyro "Save The Country", Miles Davis "All Blues", Richie Havens "Indian Rope Man", and "Let The Sunshine In" from the musical Hair. Driscoll covers this wide range of musical influences easily and with her highly emotive and distinctive vocals, and with Auger's intense Hammond organ, the album is instrumentally interesting too.” (comment)
Julie Driscoll, Brian Auger and the Trinity - When i was young

The Keith Tippett Group ceased activity in 71 and Keith's musical endeavours became even more adventurous, as he recorded some really challenging music, with Blue Print (produced by Fripp) and then found OVARY LODGE, a group that recorded two albums, the first again produced by Fripp. The music hesitates between a precursory RIO and written free jazz with improvs and contains again the usual suspects, the second album having wife Julie contributing. Keith would also help her with Julie's superb "Sunset Glow" in 74, recorded again with the usual gang, and somewhat similar and continuous of her "1969" album, still released under her Driscoll name. Since 76 (and still today), apart from appearing on Dean, Charig and other solo albums, Keith has mostly worked on his ARK or on his even more obscure MUJICIAN (sometimes with and sometimes without wife Julie), both of which projects are well into atonal and dissonant free-jazz and well out of focus of this site.” -- Hugues Chantraine, Belgium

Centipede

“First release in Japan Edition. First cardboard sleeve release (Type E semi-double cover). Originally released in 1971. Inner sleeve. Remastered.”

(translation)
Septober Energy [Blu-spec CD2] [Limited Release] / Centipede
“[Sony Music Progressive Rock Paper Jacket Collection Vol.2 British Rock (1)] This is a collection series of fan saga that reappears on Sony Music's progressive rock catalog on paper jacket & Blu-spec CD2. The works that belong to progressive rock such as European rock, American rock as well as British rock are released by theme every time. This is the second edition of the British Rock edition, which can be said to be the royal road of Progress. We pick up masterpieces such as RCA, CBS, Arista and NEON, which are proud of Sony Music, and masterpieces such as jazz rock and folk rock, as well as rare records. Also pay attention to the artwork by the great kings of the jacket world, such as Roger Dean, Hypnosis, and Keefe. An epic music picture scroll featuring over 50 rock, jazz, and classic musicians, including avant-garde jazz pianists and Keith Tippet, who were early members of King Crimson. A masterpiece like a jazz rock big band that can never be realized again. Produced by Robert Flip. ● Japan's first CD & first paper jacket ● 1971 work ● Paper jacket (E type semi-double jacket) ● Inner bag ● Remastering.”

Centipede had two versions of LP cover:
Very nice and colorful:



and very plain one, choosing for this release:





Review
“The most endearing thing about this album is the time period from whence it came and the freedom musicians were allowed. To approach a record company with the idea of bringing 50 people together and record a double LP containing something in the vein of jazz rock, just barely (if that) able to attract the main stream audience... That is crazy. And wonderful! CCS with it's tens of musicians fell way into backwater when Centipede produce twice the amount and then some. The cover attracts me, the idea brings a smile to my face and the effort makes me bow in awe. So far, so good.

The music, then, is a totally different thing. The "Part 2" is actually the only track I enjoy. The track is a groove, chugging along pleasantly. The groove is interrupted by small variations in riff and texture but is basically a groove where the band is allowed to play a solo or two. I like it, though I rarely listen to the whole thing. I get kind of lost after a while. Maybe even bored. The other tracks range from more or less free form jazz to sort of structured pieces.

It's really a feat digesting the album as a whole. Basically, it is intelligent noise and that is not really my cup of tea. Chaos can be amazing but not over four sides of vinyl. Not for me, anyway. The melodious parts are not enough in numbers to amuse me.

I admire the effort, as I wrote earlier. I suppose that only true artistes care less for their audience than their ambitious ventures and that I appreciate. As a listener, though, I wish they could have evened it out a bit, making the album a little more accessible. I love jazz rock and the way the instruments sound on here makes me happy but the experience as a whole is a letdown.

Conclusion: the music gets two stars and the effort four, which I round down to a decent three star. There's enough intelligence and musicianship on here to make you crazy. Too bad it is lost in a haze of chaos and noise, rather than being a true master piece of epic proportions. It glides by like a led balloon. Sorry.”

Centipede - Septober Energy (edited)

Keith Tippet Blueprint

“Comes with four bonus tracks including songs never featured in an album and edited versions. Originally released in 1972. Artwork: Roger Dean. First cardboard sleeve release (Type E semi double cover). Inner sleeve. Remastered.”

(translation)
Blueprint [Blu-spec CD2] [Limited Release] / Keith Tippet
“[Sony Music Progressive Rock Paper Jacket Collection Vol.2 British Rock (1)] This is a collection series of fan saga that reappears on Sony Music's progressive rock catalog on paper jacket & Blu-spec CD2. The works that belong to progressive rock such as European rock, American rock as well as British rock are released by theme every time. This is the second edition of the British Rock edition, which can be said to be the royal road of Progress. We pick up masterpieces such as RCA, CBS, Arista and NEON, which are proud of Sony Music, and masterpieces such as jazz rock and folk rock, as well as rare records. Also pay attention to the artwork by the great kings of the jacket world, such as Roger Dean, Hypnosis, and Keefe. Keith Tippet's first solo album produced by Robert Flip. In a stateless space inspired by the flow of Centipede, Keith who talks to the tongue only with an acoustic piano and a jazz rock that represents the jazz of vocals of his wife Julie Tippett is a representative of English jazz rock.
● 1972 work ● First paper cover ● Paper jacket (E-type semi-double jacket) ● Inner bag ● Remastering”



Review
“Zen Piano Master of Bristol, Weaves His Magic
Coming straight after the gigantic "Septober Energy" as it did, Blueprint must have come as a bit of a surprise for many of Keith Tippett's fans. The music is minimal - both in scale and sound - but whereas the Centipede recording leaves its impression by its overwhelming force, Blueprint makes it mark with much more subtlety.

The collective ensemble consists of Keith Tippett (piano) Roy Babbington (bass) Keith Bailey and Frank Perry(percussion) and Julie Tipett (voice/guitar/mandolin/recorder)but the groups on each track never go above quartet and four of the tracks being trio numbers.

With a few rushes of blood aside (for example on the quartet numbers "Dance" and "Woodcut", much of the album is dominated by quiet, with zen-like bells and percussion drifting into Tippett's piano and Babbington's ethereal bowed bass, while at the beginning of "Blues ll" Julie Tippett coaxes the mandolin into sounding like a Japanese koto.

As someone who often veers away from anything that even suggests a "jazz" vocalist, I was very much taken by Julie Tippett's abstract use of her voice and the way she blends it with the rest of the instruments, making a much more textural balance between herself and the others.

At times (most notably the early sections of "Woodcut") I found the low volume distracting (and writing this I have found myself looking at the CD deck to see if its still playing)so its not a CD for a long drive down to Bristol on a Keith Tippett pilgrimage (unless your car has double-glazed windows and a silent engine). This is a magical album that takes time and quiet to listen to.” -- Alfie Cook, UK 17 February 2010

Keith Tippett - Song (Blueprint)

Keith Tippett - Blues II

Keith Tippett - Blues I

 

P.S.
It is important to note:
Just like the first volume of Italian rock (5 BSCD2), which came out as the Aria Promo box:










Prog Rock Vol.2: British Rock also came in the plain Centipede box (9 BSCD2), underlining Sony’s new approach to prog releases: there are no groups too small.



They want prog labels like Belle, Vivid and Esoteric to understand: no more licenses, we have the resources and the desire to do everything ourselves and in the best possible way, and cheaper than anyone else...
How long will it last?...


P.P.S.
I saw this Centipede box on eBay and want to post a picture, but they completely disappeared (?)

 

Man, that Area box looks super! Do you own it TD?

 

Awful. The bricked digital download re-leveled.
Picked it up for collection reasons.

 

No, I don't. You can't have everything... but some of your favorite.
I just received King Crimson new In Court remixes box, so we will talk.

 

Thank you for the warning. Tell us a little more.

 

Mark Wilder (US) gets the mastering credit.
What they did was take the digital download (which was compressed to the hilt) and dropped the dB's a couple for the format.
The damage is already done, unfortunately a better dynamic mastering was not created.
Four Little Diamonds

 

Oh dear. Mine arrives today, but TBH like you I want it for the collection as I have most of the other mini-LPs and do not have the 35th on any other format.

 

One's mileage may vary. Unfortunately i'm really sensitive to modern compression via my home system, probably sound fine in my car

 

So am I with my home system alomg with tinnitus, especially before the system warms up, so this one will be going on at least half way into a listening session

 

TD please give a review of the King Crimson box. Anxious to hear how the sound is.

 

After Madman, which is ready.

 

In a dedicated Elton thread, I tried to compile a rating of all 13 Elton John albums released this year (we talked about them):

Elton John Empty Sky
Elton John S/T
Elton John Tumbleweed Connection
Elton John Madman Across The Water
Elton John Honky Chateau
Elton John Don't Shoot Me I'm Only The Piano Player
Elton John Goodbye Yellow Brick Road
Elton John Caribou
Elton John Greatest Hits
Elton John Captain Fantastic And The Brown Dirt Cowboy
Elton John Rock Of The Westies
Elton John Blue Moves
Elton John Greatest Hits Volume 2

This is not easy to do because of diametrically different opinions about some titles.
I bought only two albums and posted reviews...
Here they are for all people in this thread:

Elton John Tumbleweed Connection

2019 Mini LP SHM-CD vs. 2004 SACD

Review
I received SHM Tumbleweed and listened to it several times. The sound varied from track-to-track, so I had to rate each song separately.

On most tracks, the sound was airy, very balanced and detailed with great separation of instruments. The voice and piano were natural, the drums were punchy and the bass was fast.
4 tracks were included in the "Best" category. I’m glad that my favorite ‘Where to St. Peter?’ and ‘Love Song’ were among them.
2 tracks (the first ‘Ballad of a Well-Known Gun’ and the last ‘Burn Down the Mission’) went down to the “Good” category. On the first track, the voice was not in front, but further inside the scene. The choir lost a little clarity when I cranked up the volume. There are a lot of crescendos on the last track with the same problem.
I had to cut some points for the remaining 4 songs due to various imperfections like slight brightness in vocals, for example. Track #5 ' My Father's Gun' began very promisingly, but by the end it had lost much clarity.

Overall, the sound clarity was excellent due to a good dynamics.
In general, the Tumbleweed album firmly earned a "Very Good" position in the ranking. I love it a lot.

The 2004 SACD, on the other hand, was not bad. I would say that DR8 and 9 are not 4 and 5. It cannot increase in volume, but at a normal listening level it was good - balanced with good, not with booming bass.
They were very proud of this sound 15 years ago. If a little more dynamic, it would be a contender.











Look here, the lowest DR on track No. 5, I mentioned above, on both discs - why is this?

DR 2019 Jpn SHM-CD: 12 12 13 13 10 12 13 14 12 12
DR 2004 SACD Stereo: 09 09 08 08 07 08 11 08 12 08 08 08

Conclusion
I analyzed all the comments on Tumbleweed. There is no consensus. Some just prefer SHM, some say tie, because of something better here, and something better there.
But more people speak in favor of the MoFi version than vice-versa. It will probably be fair to say:

Elton John Tumbleweed Connection - Very Good (Second best after MFSL)

 

Elton John Madman Across the Water

2019 Mini LP SHM-CD vs. 2004 Hybrid SACD (Stereo)

Review


“If a little more dynamic, it would be a contender.”
(from the post # 968)

“Openness of the sound as much important as its dynamics.”
(from the Elton John thread)



At first, I listened to the full SHM album a couple of times. It was obvious to me that Madman could not claim a position in SQ as a Tumbleweed, which I recently reviewed (post 3128, page 126), because of two things: lack of openness and poor bass performance. This fact gave a chance to SACD, which has its own problem with low dynamics.
How did the SACD seize this chance?



I began with SHM, the first song ‘Tiny Dancer’: the piano was excellent and vocal was very good, although there was tiny brightness, but nothing much to be worry about; the cymbals were very smooth and natural. When bass appeared, it was a well presented and clean bass. That has changed for worse further, but not so much. Overall, the sound was well balanced and clear.
What about the lack of openness that I mentioned above? This was not noticeable in this song (and on the next 2 songs), at least without comparison.

Only when I put SACD, I could determine that it sounded crispier with a sharper image. Although trebles were brighter and this affected not only the vocals, but also the cymbals.
In quiet moments, like at the beginning of the song with a piano and voice, SACD sounded preferable to me. But these moments were short. As soon as the orchestra entered, abrasiveness in the mid-range showed up, and the bass lost clarity, not so badly, but SHM was better in that regard.

I put SHM on again from 4:40 and at the pic power I cranked up the volume. SHM handled the orchestra without distortion; the bass was not perfect, but still good. Overall, SHM sound was better than SACD.

So, on the ‘Tiny Dancer’, SHM against SACD ended up - Very Good vs. Good.

The next song ‘Levon’ was the best sounding track for both discs. Thanks to tighter bass, SHM bordered the “Best” category. SACD also was better than on the first track (abrasiveness disappeared) and finished one grade lower than SHM: Best/Very Good vs. Very Good.

Track No. 3, ‘Razor Face’ sounded similar to track No. 1.

The situation began to change from the title track (No.4).
Now I put SACD in the first place, and from the very beginning it sounded with the clear sound of an acoustic guitar and vocal. But soon I noticed that the cymbals did not sound very well, being too bright. Anyway, it was a normal sound for 2 minutes. Then, cellos... beautiful cellos at the pic power lost its clarity; the sound of the orchestra was congested at some places.

I thought that with better dynamics, SHM would cope with harsh moments (for example, at 1:35 and 4:15) and the orchestra better than SACD, but this did not happen as much as I expected, just a bit.
I must say that this is a great song, and the brilliant string arrangement of the British conductor and composer Paul Buckmaster is an important part of this greatness. I did not pay much attention to such a thing as a string arrangement in the 70s. I may not have been mature enough to appreciate this, but now I do, and it is unfortunate that we cannot enjoy this song in full force.

SACD was performed pretty much evenly on the first 4 tracks, but the music on the title track became more challenging.
SHM, on another hand, fell down (starting from the title track) due to the weak and clumsy bass performance. Despite the good dynamics and presence of the bass, it lost its punch and tightness. This affected the sound as a whole – the low mid was not clear enough, again beautiful cellos were suffering…
(If you pay attention to the details, you will notice that the cellos in very important places used their lowest string settings, bordering the bass and creating a wonderful fullness of sound, covering all parts of the spectrum – kudos to Paul Buckmaster).
It was a tie, but not the one I want to declare: both discs sounded equally good… No… Both discs sounded equally not so good.

I’m not sure if there was still a tie on the Track No. 5 ‘Indian Sunset’, but with each next song SHM was losing to SACD in the low end and in the openness of sound. Half of the spectrum from low mid-range lost in clarity; the sound bordered the “Average” category on tracks 7 and 8, and barely reached “Good” section on track No. 9.

This very short song called “Goodbye” (one of my favorite) was an example in this case.
The orchestra did not play a big role here, except for the piano and vocals. Elton sang on SHM, as if he had not eaten for several days.
This was the last round, and the SACD felt that if "he" added a little, he could win the whole fight. And this is what happened.
From the first notes one could hear how emotional and enthusiastic Elton was. He jumped out of the speakers in the middle of the room with his piano. The speakers wanted to disappear, but a quiet string section held them back. Sound filled the entire room - it was a 3-dimensional, open and vital sound.
I looked at the DR of this song ... yes, DR was 11, just like SHM.

Before reaching any conclusion, I looked at the credit note, which said:
“192kHz/24bit flat transfer from 1971 UK original analogue master tape at Abbey Road Studios, London”

Then I gathered our comments on Madman:

(from the Lovealego list)
Madman Across the Water - SHM comes out ahead due to cleaning up the muddiness and wall of sound of the MFSL.

(from the Brudr list)
Madman Across the Water - TIE (Polydor/MCA & SHM-CD)

(from the Scateaway list)
Madman Across the Water - Close again but I think I prefer my usual MCAD-31190 over the SHM which sounds slightly darker. I would imagine that this one would be very system dependent.

“I've compared the MFSL with the SHM-CD and to be honest, I wish I could have both merged into one.
I find the bass on the SHM-CD Madman is just a bit too boomy with not as much clarity and definition as the others (except for Empty Sky). I prefer the bass on the MFSL. However, in the mids and highs there is really no contest. The sense of space and transient clarity on the SHM-CD really shows what modern AD converters combined good mastering can do. In A-Bing them recently, I found the cymbals in particular on the MFSL to have a grainy, non-distinct quality to them, whereas the cymbals on the SHM-CD Madman have an almost uncanny 3d clarity to them. Mind you my criticism of the MFSL is only in comparison to the SHM-CD. It sounds better than other redbook MATWs I've heard (DJM and 95 remaster). The Madman SACD (stereo SACD layer) would be good as well were it not for too much compression and a bit too much boost on the highs. I really just wish the SHM-CD didn't have too much bass as it would be darn near perfect, along the same lines as Caribou, Captain Fantastic and Blue Moves. I may try some EQ matching to make my own hybrid version with the MFSL bass curve applied to the SHM-CD.”
Stefan, Sep 25, 2019 #2838

“I have bought my first SHM CD: Madman Across the Water
The artwork is stunning, different but maybe even more exquisite than the WG DJM CD and definitely richer than the MFSL CD. But artwork is not essential.
Talking about the sound, here is where I stood some 10 years ago: The MFSL CD sounded muffled, smooth with deep bass but not enough "life" for my taste, so I preferred the WG DJM CD. Now I compared the three side by side: SHM, MFSL and WG DJM, and must say that I don't enjoy the eq of the WG DJM CD anymore, it sounds a bit artificial and hyped compared to the over-smooth representation of the other two, especially vocals and piano. The SHM CD has a tiny bit of upper midrange added compared to the MFSL which helps, in my opinion, but far less than the WG DJM. If the MFSL CD is a flat transfer, then the SHM CD has maybe 10% of the eq from the WG DJM CD applied. My new favorite is the SHM CD, but the MFSL is almost equally as good.”
Andreas, Sep 29, 2019 #2922

“I'm in agreement after listening to the MCAD 37200 DIDX 374 Madman Across the Water CD. The music comes across with a greater sense of authority on this CD than the new SHM-CD which is good in its own right but lacks a slight sense of cohesion/authority/guts, call it what you will in comparison to the original. I can easily understand folk preferring the new SHM-CD though as it's got loads of detail & a different tonality but for me the original wins out.”
Musicisthebest, Sep 17, 2019 #2640

And I picked the DR of considered versions:

DR 2019 Jpn SHM-CD: 12 12 13 12 12 13 13 12 11
DR 1989 MFSL: 12 12 13 13 12 13 13 12 11
DR 1992 Polydor: 12 13 13 13 14 14 14 12 11
DR 2004 SACD (Stereo): 08 08 10 08 08 10 08 08 11

Conclusion
Madman Across the Water made it to the “Good” section due to the better sound of the first half of the album.

Elton John Madman Across the Water – Good (Second after Polydor/MCA, tie with SACD, but better than MFSL)

Original Master Tape continues to deteriorate.
Hold your Madman SACD tight; it's not the best SACD, but it can still be the best digital version on at least half of the album.

 

Elton release has beautiful heavy cardboard covers with exceptional print quality.
Some guys asked, “What would be the best plastic resealable outer sleeves for these quiet thick covers?”
I bought several to make sure that these and similar covers (like MoFi) will fit into them.

Here they are, made by Disk Union:




Elton's covers fit perfectly and everything else should fit.

20 pieces Resealable Outer Replacement Plastic Sleeves for MINI LP CDs | eBay

Resealable Outer Replacement Plastic Sleeves for MINI LP CDs 100 pieces | eBay

$3 for 20 pieces w/$3 shipping, and the package of 100, even cheaper for $10 and $7 shipping.
As I said, Disk Union sells them only in bulk, at 1000 pieces per box.
DU dealers on eBay are just the way for us all to buy them.
And the guy, I posted the link to, is the best of DU dealers in this regard - the specialist in this field.

 

Agreed.

 

Listening to the BSCD2 now of Secret Messages on the home system and not as bad as I imagined SQ wise (maybe From Out of Nowhere prepared my 'ELO' ears). It's great to have the 35th as it really annoyed me that this was vinyl only on release. I will say that I think the album as originally intended is brilliant and has jumped up my ELO favourite albums list. It may not be very dynamic, but it's a fun listen to say the least

 

Content=A+

 

Short introduction:
Australian Jazz singer and world class double bass player, beautiful women and cool person (all in one) - Nicki Parrott.

w/great pianist Rossano Sportiello


Nicky continues the tradition of American sensual jazz of Peggy Lee and Julie London:

Nicki Parrott - I Will Wait For You

Nicki Parrott trio + Scott Hammilton (watch out after 4:00)
“Nicki Parrott brings SO much to every ensemble she plays with! Such Energy, Style, Taste, and a Solid Groove! Can't get enough of her playing, and when she Sings!”
Nicki Parrott - Deep Purple

Moon River
Nicki Parrott - Moon River
Live w/big band
Nicki Parrott - Moon River

"FEVER": NICKI PARROTT, ROSSANO SPORTIELLO, HAL SMITH at FILOLI 2012

She is highly regarded in Japan, where she has recorded many albums released by Venus Records and reprinted by major Japanese publisher Pony Canyon on the Mini LP as a discounted reissue, but they sound a bit loud.








Happy New Year, everybody!