Just finished listening to my copy of Still Crazy. Absolutely fabulous and deserving of all to praise noted so far. No defects of any kind to report. #1976
Just received my Simon One-Step today. I should admit right off the bat that I've never owned this album in any other format, and hadn't heard it at all until I previewed it recently to see if I wanted to splurge for the One-Step. I was never fond of the two singles, so hadn't explored the album, and frankly was expecting to pass on it. What I discovered on my initial Spotify listen was that the deep tracks were much more to my liking than the singles, and it seemed like it had the potential to sound fantastic as a One-Step, so I decided (with more hesitancy than with any previous One-Step order) to take the plunge. How do I feel after my first listen? Kind of mixed. I'll admit that after the first half, I felt like I'd made a mistake. The music wasn't doing much for me, and I was even a little disappointed with the sound. The instruments sounded great, but something felt a bit off with the vocals to me--they didn't have the lifelike presence I hear on the best recordings (and that includes the better sounding tracks from the Bridge Over Troubled Water One-Step--though of course some tracks on that, such as the title track, sound far worse than anything on this album). I tried to home in on what I thought the problem might be with the vocal sound, and it was very hard to pinpoint--I didn't notice a particular frequency dominating or anything like that. It almost sounded slightly lower-res than the instruments in places, as if maybe they didn't use the best mic to capture vocals. It certainly didn't sound bad, but just not as lifelike as on the recordings I would describe as great. On the other hand, I enjoyed the second half far more, both musically and sonically. The closing track is particularly wonderful in both respects, and I thought even the vocal sounded great. Of course, instrumental solos through the album, particularly from the saxophone, sound wonderful and vivid. One thing that occurs to me is that I began playing the album pretty much right after I powered on my system, so maybe my tubes needed more warm-up time to sound their best. I'll be giving the first two sides another listen soon to test out that hypothesis.
Funny, before getting to your last paragraph, the first thing that popped into my head was maybe the system wasn’t warmed up fully. I usually try to play at least one side, ideally two, before critical listening. Especially important on colder days like we are having today here in the Midwest. My copy hasn’t arrived yet, it’s out for delivery, so I haven’t heard the one step yet. But side 1 sounds fabulous on my other copies of this record.
#1502 Simon cleaned and played today.Packaging and media is flawless. Both records play perfect."My Little Town" was a bit shouty to my ears but overall excellent.
Just listened to the first half again, with the system fully warmed up. There might have been a slight improvement, but my overall listening impressions were pretty similar. I'd have to say that the third track, "I Do It For Your Love," sounded fantastic, including the vocal. But in something like "Night Game," the vocal just didn't have that holographic "there he is" quality that comes across in great recordings of vocalists like Nat King Cole or Frank Sinatra (or even some of the better-recorded tracks on the One-Step of Bridge Over Troubled Water). I also noted what varyat refers to above as a "bit shouty" quality in "My Little Town." It actually sounds really good during the verses, but when they get to the more emphatic "Nothing but the dead and dying," it loses a bit of clarity, like it's just a little too much for the mic. Not a big problem, but I wouldn't exactly call it a reference recording for vocals. Having said that, I should clarify that I would definitely characterize this as a great sounding recording overall. But as some posters are saying it's the best sounding One-Step so far, I just wanted to share that I don't hear it quite that way. I certainly was more impressed by Mingus's Ah-Hum, though not being a vocal album, that's a bit apples to oranges. But I think in terms of vocals alone, I recall hearing more clarity in the better tracks from Bridge, as well as Fragile (which is not exactly the most audiophile recording of the period, but nonetheless features some almost startlingly lifelike vocals in the One-Step). The one One Step I own where I think the vocal presentation was less impressive than on this one is the Marvin Gaye--not sure about the Donald Fagen without making a direct comparison, as I recall there being a bit of edginess in at least some of those tracks. And none of this is a criticism of Krieg's mastering, as I have no other version with which to compare. This is a great sounding album, but for whatever reason (and probably unfairly), I was expecting it to be a kind of legendary, reference-level recording, and it falls short of that to me, at least in a few tracks (and, of course, to my ears and on my system). But I should also add that the instrumentation throughout sounds uniformly outstanding.
#160 was at my doorstep when I got home from work. That makes 2 in a row, my BST was 162. I'm surprised at the low numbers. i'm usually a 7999 of 8000. lol.
I don't mean any harm, but truly unfair to compare to other titles...covering different genres and years. Best, IMO, to compare against an initial vintage cut. All I leaned from your review was that you were not happy with the recording quality of all tracks. As revered as Abraxas is, it is far from a perfect recording. It is in comparison to originals, and others. were that one shined.
Yep--completely fair points. What you say you learned from my review was absolutely all I was trying to convey, since (as I stated right from the start) I have no other versions with which to compare. This could very well be the best sounding version of the album by a long shot--I have no way of knowing. And I only compared to other titles (particularly One-Steps) because another poster suggested that it may be the best sounding One-Step yet, which also suggests comparisons across genres and years. But you are completely correct in the limitations of what I am conveying, and I sure hope I didn't suggest otherwise.
I decided early on that I would not be a completist on this series. They’re coming out pretty fast and furious so I’m glad I’m not trying to keep up at this price point. I do have a few more favorites preordered but Paul Simon is just not worth it to me. I have the Legacy releases and I’m good.
Eh "fair" or not, comparing these releases, across genres, decades, studios etc. is a big part of the fun. I disagree that Abraxas shines "in comparison" to other copies. I never owned Abraxas on vinyl before the One Step and I was absolutely blown away by the depth and clarity of sound. Back to Still Crazy. I actually agree that Disc 2 sounds a little better. The difference isn't as stark as with Abraxas, where Disc 2 sounds substantially less impressive, but it's noticeable. With respect to the vocals, my system leans warm these days. I'm using Gold Lion EL34's with NOS Mullard 12au7's in the preamp section, and a big pair of Tannoy speakers. Perhaps that's why I'm hearing what I'm hearing. Ultimately this stuff is all system and personality dependent. I was not particularly taken with the Blood, Sweat and Tears One Step, for example, which mostly got raves. And perhaps deservingly so, it just didn't click for me on my gear.
Thanks so much for the thoughtful reply! I completely agree about these impressions being system-dependent. I could switch out some tubes and probably hear things very differently. And I especially appreciate your confirming the small improvement on disc 2--makes me feel like I'm not completely out-of-step with what others are hearing!
While we're on the subject of comparing apples to oranges, I decided to give the Blood on the Tracks One Step another listen tonight. Another fantastic release. I would say the realism is on par with Abraxas or Still Crazy, but there's just less to unpack in the performances and production so the recording doesn't quite have the same wow factor. Quite a lot more to unpack in the songs, though.
I've been pretty picky with the series so far as well; I own Dylan, Monk, and Mingus and have Joplin, Adderly, CSN, and Muddy on order. My main criteria for One Steps is that they have to be either artists or specific titles that I love and know I will get enough enjoyment out of to justify the extra expense and shelf space. I could afford to buy them all, but I just don't see the point of buying a title I sort of like in this format and denying it to someone who is actually a huge fan.
My Blood Sweat & Tears just arrived finally — very delayed for some reason, they must have been swamped as I preordered this at least a year ago. Unfortunately they've stuck me with two identical LPs - each are sides 3/4! Unbelievable. Sounds absolutely fantastic though! I hope they have replacement LP1.
I gave the entire Paul Simon album another listen tonight, and I have to say that it's really growing on me--I'm now very happy that I ordered it despite not being very familiar with the album. With my expectations lowered after my first listens earlier today, I was able to enjoy the listening experience a lot more--and this album seems to work better at night. Though some of the comments I made earlier about the vocals not always sounding as great as the instruments still hold true (for me) on a few tracks, there are more than enough sonic (and musical) delights to make up for those occasional sonic shortcomings. Among the aspects that stood out to me on this listen was the string arrangement on the title track. I've never been a fan of that particular song, but on this listen, the delicacy and subtlety of those strings really drew me in. I also noted what seemed like a brief nod to "Bridge Over Troubled Water" when the strings returned after the sax solo. I already mentioned in earlier comments that "I Do It For Your Love" sounded fantastic overall, with percussion and little guitar plucks creating an immersive soundstage. And the percussion on "50 Ways" was also impressively tactile (with a tambourine during the chorus that almost seemed to be coming from behind the listening position)."Night Game" didn't have those sorts of sonic treats, but is a beautiful song to close out the side. Now, beginning with "Gone At Last," the album does seem to turn into a true audiophile (as well as musical) delight. On this track, it's Phoebe Snow's vocals that demonstrate the engineer really could capture vocals with lifelike vividness--it is like she is there in the room. And then in "Some Folks' Lives Roll Easy," for the first time I could say the same about Paul's vocals, which were crystal clear and very effective on this track. Then, with "Have a Good Time," we get more great sounding vocals along with possibly the most amazing sounding drums and bass on the album--this track feels like demo quality. Things take a slight dip for me both sonically and musically with the next track, "You're Kind," which sonically sounds more like some of the less impressive tracks on the first disk, and musically and lyrically is the sort of thing I originally feared would dominate this album (but luckily does not). But the album goes on to close on a majestic note with "Silent Eyes." The sonics are wonderful here, with a great sounding piano standing out in particular (and the backing vocals also sounding great). This track seems reminiscent enough of "Bridge Over Troubled Water" that I wonder if it was intentional. One thing I especially enjoy about this one is that instead of going for a BOTW-style epic climax, he ends on a much more subtle, quiet note, leaving the overall song with a far more intimate feeling that is very moving. I think this album is going to reward repeated listening, and its impressive sonics (especially on side 2) will make those listens all the more enjoyable.
Has anyone compared the Paul Simon 1 step to the Ryan Smith RSD release? I love the RSD and will get the mofi only in July.. was wondering if it’s an upgrade (mastering-wise)
I tend to listen to his first three solo albums more than the S&G albums. And Still Crazy is my favorite.. I don’t think the vocals should be the main focus... the band is amazing. Awesome musicians on this album I’d hope for the s/t album to get the 1 step treatment over Rhymin’ but heard the master tape is not useable. Worth listening for people who like his intimate songs , and the acoustic guitar on those tracks really shines through on a good system
Smiling Phases might require some unpacking though....I’m thinking of the piano solo in particular but there are lot of dynamics in places as I recall.
Somewhere in the back of the warehouse, Music Direct/Mobile Fidelity has a few extra copies of the first LP for the BST One Step. I just opened mine and also found two copies of the second lp. Just emailed them and hope to have this corrected soon. The sounds is wonderful but waiting to enjoy the full album.
The OneStep of Marvin Gaye's What's Going On. I listened to it the other day and in the title song, I noticed pretty much any of the "S" sounds in the lyrics had a slight buzzy or ssssss as they were sung. Anyone else notice that? Is it an artifact of the original recording?
If you scroll back several hundred pages you’ll notice tons of complaints about sibilance on the title track with this release. It’s pretty bad on my copy, but it’s only on the title track, thankfully. The rest of that release sounds pretty great.
For me, the One Steps are an interesting conundrum. By this I mean is one to buy the album due to acquiring the best pressing of a marginal master tape, but acquire for the music and a marginal increase in SQ over the original pressing, or simply wait for the likely better SQ from an album that starts off great from a SQ/mastering perspective and music combo. This is why i have not pulled the trigger on the Paul Simon release or the S& G BOTW ( same goes for Fragile and BS&T). OTOH, the upcoming release of Muddy and possibly EC Unplugged have me more interested. I tend to hold the SQ of the Opus 3 LP's as an arbiter, and IF the 'One Step' release in question cannot come up to that standard, i am going to pass unless I really like the music. Few of the popular master tapes that MoFI seem to work with can come close to the mastering of the Opus 3's....unfortunately.
On the ‘Still Crazy’ One Step is anyone else getting surface noise every rotation near the last minute or so of ‘Night Game?’
