I don't know. Maybe 4MWB's license for those titles ran out? I'm sure the agreements are different for each license. Maybe Universal licensed those particular albums to 4MWB in the first place?
I bought Nina Simone's "Sings the Blues". It sounds awful, plus the label is the most ugliest thing I have ever seen spinning on my TT.
So far I've avoided 4MWB, but I'd rather know if Scorpio, the label that works a fair amount with Rhino, is worth the money.
That is also a very good question. I have not researched the Forum yet, but it deserves another thread to pursue it. I'm sure other members will post links to previous threads if they exist.
Their logo and name are absolutely hideous. I won't buy anything from them for that alone. I'd rather have a CD. I've just looked on Discogs and there's a Music On Vinyl reissue of that album from 2013. Should be nice.
Scorpio are often criticised, but I have around 20 of their reissues and can't fault them for packaging or sound quality.
I suppose the question to be asked is why 4MWB and Plain are still in business. Many of their titles have been licensed by better labels or issued by the major owning the rights themselves. Even UMC using a digital file and pressed at GZ will be better. No reason for the labels even giving them licences.
I have and Ardent Radio City reissue that’s one of the worst sounding records I own. Extremely noisy with a consistent popping that goes from needle drop on both sides to the end.
It is frustrating- for example, I'd love to scarf up Miles Davis' Dark Magus on LP preferably without finding a used copy that wouldn't cost me a fortune (as the original US/Japanese versions can). Apparently 4MWB has the current vinyl issue of Dark Magus, Agharta and Pangaea (all of which I want on vinyl) but damned if I'd buy them simply based on the 4MWB label's iffy reputation. Sort of a damned if I do, damned if I don't kinda thing for me- either shell out the big bucks for an original pressing or find the crappy 4MWB version cheaply. As far as wanting Dark Magus went I ended up compromising sort of and bought a European vinyl pressing of the soundboard recording of Miles' June 19 1973 Tokyo show instead. In other words, I would rather give my money to a g-ddamn European bootleg company (since the 1973 Tokyo show isn't an official release) than to the 4 Men With Beards label Precisely- to me the name screams "We're a label created by hipsters, run by hipsters, creating product for hipsters." I can't take a name like that seriously, so how is that supposed to be a positive reflection on the product itself? Yep, pretty much! It sounds like they cater to the Crosley crowd, nothing more, nothing less.
Plain??? Simply Vinyl is different. Young hipsters? Naive people? Definitely! Not all they did was crap.
Not consistent. I'v e had some which are excellent and others which have noise. Sonically they vary too - -some sound digitally sourced. I have maybe ten 4MWB LPs.
There's something sad about classic albums being pressed so badly people are finding them only fit for the bin or giving away, rather than being proud to own them.
Seems to me that what's even sadder is that a company exists that proudly manufactures this crap and doesn't seem to give a damn about the lack of quality. I know there's always a certain "caveat emptor" factor involved when it comes to buying vinyl but it's almost as though the 4 Men With Beards people are just taking the piss out of the consumer. At this point they have to know at some level or another about the bad reputation their products and overall company has.
There is a legit European pressing on Music on Vinyl that came out in 2016. I have it. Sounds decent enough, though an original would be nicer. (I had a great original copy in my hands 2-3 years back, but was splurging on Miles that day as it was so thought, naah, will get it next time; have never seen once since...) Anyway, have a read in the comments here. Some more bad-mouthing of 4MWB, you won't be surprised to learn.
he h I have that one on 4MWB, along with six other titles on that label according to my discogs account. (Intresting diversity, with reissues by Faust, Bukka White, Small Faces...) Can't say that I regret any of those purchases - though I did return my copy of Scott 2 for non-fill (though that's more due to the Rainbo plant than 4MWB). I wouldn't doubt there's better copies to be had for higher prices.
Actually, I think SHMF makes up a small percentage (as we usually do) on the venn diagram regarding the 4MWB customer base. The titles they reissue are usually popular enough and specific to crossover into yupster businesses outside of record stores, like Urban Outfitters (quite the feat and I bet they make a tidy profit from it). How many other labels are able to do this? Also, I think people are overlooking the fact that 4MWB titles are usually cheap, around $22. Compare that price with your typical MOV release which I'd peg around $30. Additionally, I believe most people can't tell the difference between cd and analog/high rez. They're just buying a record because they like the music (nothing wrong with that), the social cache of vinyl and the perception of 4MWB as a edgy/cool label. As far as pressing quality, again, most people won't be able to tell. Many people think records are supposed to pop and make noise. Given all the corners cut for cost in the QC chain and I bet 4MWB is one of the more profitable reissue labels...which is depressing. But this is all my speculation. I guess the question I want to drill down into regarding the Tim phone call is: Does it really cost more to get high-rez. files vs. cd quality ones? If not, why do they consistently opt for cd quality? Also, I just don't buy that high-rez files are hard to source.
The good news is that many of the 4MWB releases I may have been tempted by in the past have now been released (or are about to be released) in reportedly better versions - Chris Bell, Wire, Iggy Pop, Flying Burrito Brothers, etc.
I've sold all my 4MWB/Plain LPs (except for a 4MWB Jimmy Scott repress, and the Plain reissue of Pacer by The Amps.) At one point I probably had about a dozen or so. As far as them pressing from CDs, the best indication for me that their source is directly from CDs is the Plain reissue of the Saint Etienne album Tiger Bay, which has the exact same track listing as the U.S. release of the album that only ever appeared on CD, including tacking on the alternate versions of Hug My Soul and Like a Motorway at the tail end. They didn't even try to hide their sourcing there.
