Classic records Physical Graffiti

This was posted on another post but I fear that Tom Port may have missed it. I am confused. Basically, Tom stated that Classic's release of Physical and Led II were the worst in that series. My comment was as follows:


Wait a minute Tom Port, I believe you stated in your catalog (and to me on the phone) that Led Zeppelin Physical was bettered ONLY by the best British copies. Now you're saying it is the worst in the bunch? Which is it? Sounds good to me but I must admit I don't have anything to compare it to. That's why I asked you and you replied it is the best copy that one could obtain today without searching for several years for that great British copy.

 

I speak the truth, Grasshopper!

It's true, the domestic PGs are even worse! One dismal piece o' crap IMO.

The new version has many faults. I don't like it.

What's your alternative, may I ask?

This is the word for word excerpt from my catalog, which I stand behind 100%.

"Tonally correct, which is one thing you can't say for all the Zeps in this series, that's for damn sure.

"Compared to my British original pressing (which oddly enough is pressed in Germany, A1/B1), of which I have seen exactly one in clean enough shape to buy over the course of the last twenty years, there is a loss of transparency in the midrange.

"Those of you with crappy domestic copies, crappy imported reissues and crappy CDs, which is pretty much all there is of this record, will not know what you're missing. Compare this title to the one below [Presence] and I expect you will notice that hearing into the midrange is a more difficult proposition on these songs, with reduced ambience and space around the voices and instruments, especially in the center.

"By the way, I used to think the Japanese Analog Series was the king of the hill on this album. What a fool I was. It is ridiculously bright. "Frequently wrong but never in doubt" as the sages say. If you can turn down the treble it's not too bad I guess. To anyone I sold the record to, my sincerest apologies."

The moral of this story?

I have no idea how good your stereo is. I have no idea what your standards for sound are.

I do know that most of the people buying the Zep series are very happy with them.

Even II! Now that tells me that stereos and standards aren't what they should be.

(Arrogant? Guilty as charged. Do you think I like the fact that most people can't tell a good record from a bad one? Do you think DCC would have sold more records if people could? I do. DCC made some of the best records ever made and most audiophiles couldn't tell. 'Not as good as MOFI.' I heard that a lot. I needed Tums by the bucket after hearing that. I proselytized until I was blue in the face in every catalog I wrote and on the phone to everyone who would listen, on behalf of SH and DCC. Now I see people trying to get their records and whining about the cost. Where were you for the last five years, a cave in Siberia? You weren't ready to "take the plunge"? Well, DCC went under in the meantime, sorry. Ain't it a shame?)

Back to PG:

Can I only sell the records that meet my standards? Fraid not.

What is the right thing to do under the circumstances, o Socrates? How is one to live the good audio life then?

Easy. Tell the truth. Call em as you see em. Tell people they can do better and let those who want the best try and find the best. Wish them luck because they will need it!

The alternative for everyone else is the Classic, or worse. I say if you want this music, it makes no sense to go with something worse. You make the choice. You have the information in front of you. It's in black and white in the catalog. I write pretty clearly I think. Try to anyway.

Bottom line: I can't recommend the Classic, and I don't. If you want to buy it, it's your decision. My job is to help you make an informed one. I think I did that here. I stand by every word. And I sleep very well at night, thank you.

TP

 

Your reply is informative. Thank you. One thought I have running through my mind. If a customer WANTS the best copy ( on any of the lp's we discuss on this forum) do you have these "best pressing" copies to sell or do I need to get my backpack on to head for England. I would glady pay more for the best copy. I mean I paid about $100 for my UHQR of Tea for the Tillerman (I can see you cringing). So, can you sell me a better pressing that would show me how wrong the UHQR is?

 

Sam, of course I can, dear boy. Do it all day, every day. Call me. And all my used records are always 100% money back guaranteed.

(Don't be surprised if the stampers are scratched out though. Proprietary info, not for public consumption.)

800-487-8611
TP

 

I dig the Classic Records "Physical Graffiti."

Boom! Boom! Boom!


In fact, all the Zep's are great on Classic....

Yeah - great.

Best,

Ben

 

Ben,

Boom? Boom? Boom?

I think those explosions over at your house you posted about may have damaged your hearing. Look into it.
TP

 

Tom,

You are kidding, right? You mean you scratch out the stamper numbers just so nobody else will know? Doesn't this make the collectibles less valuable?

Here is an idea. When you scratch out the stampers, incribe "HUMOREM" or "BRCBTP" (Better Record Certified By Tom Port) on the dead wax. Then you can charge extra for the HUMOREM/BRCBTP copies.

 

I'll do it. I'll scratch my name right next to the mastering engineer's. "Approved by TP"
TP

 

So do I get a cut in the premium you charge on the TP approved copies? Forgot to patent the idea then license it to Tom Port. OH:!

 

Do you tell your customers they are buying a record that has been altered and is no longer in original condition?

 

Nah.

It's the drum break in the middle of "Kashmir."

Best,

BG

 

This begs the quesiton -- how do you keep stamper numbers from circulating? If you sell one of those super DSOTMs, how do you keep the stampers from becoming public knowledge?

 

This begs the quesiton -- how do you keep stamper numbers from circulating? If you sell one of those super DSOTMs, how do you keep the stampers from becoming public knowledge?



He sends your name and address to the Sopranos.

 

I think because it's all opinions. Tom has said in posts before that for years he was telling people (almost pleading) to listen to many DCC titles (which are now classics) and they just didn't get it. I think a lot of people out there care more that they have an MSFL "Dark Side of the Moon" rather than a better sounding "Dark Side of the Moon" or at least are not open to the idea that such a beast "possibly" (only because I haven't done a comparason of Tom's "hot" pick and my copy, which could very well be the one but alas no stamper info supplied) exists. I agree from my own experiences that every record can and does sound different and stamper numbers are important (I just don't know or would need a very big book to understand every pressing plant/label's notations).

Last night I found a nice VG/NM DJM copy of "Empty Sky" (ironic, because I've never come across the DJM's and with all the posts in the last few days I actually found one). I believe the stampers had a 2 on side one and a 3 on side two (does that make sense?). The back of the DJ said mono but it looks like a "stereo" label may have been removed... It sounded pretty good (needs a good Disc Doctor clean this weekend).

Todd