What's an original? I have to laugh when people say this and use it as some kind of gauge. All records are original, you have first pressings, but those are different also from country to country and can be wildly bad or good. So that's not the route to take because all records are different, even the same issue can sound different from different pressing runs. So what's original? We don't know yet, at least I don't. Also some of the records your talking about there can and do cost hundreds of dollars. And as I said even the same issues can sound different, and then with old used records we have condition to weigh in. Hell you can buy a sealed Classic Records for hundreds of dollars and have it sound like garbage. No my friend Abbey Road is providing new records for people that need them, they state on the cover what they are doing that's all.
Original pressing = early pressing. I should have clarified myself. I’m not getting into a pissing match over semantics. Abbey Road may be providing a service my friend, but it’s not the best in my view. I’ll leave it at that.
The new cut of Tommy. I saw it for $45. Probably get it for less yet that's without tax or shipping. When people refer to 'originals' they are likely referring to vintage copies which also have a historical type value to them which the AR pressings don't and likely never will. Then there are later pressings of those same vintage pressings that might have been cut by Peckham, KPG, Blackham. Or mastered for cd by SH. For me that's more than enough reasons for me not to also buy the AR reissues (except for the bonus material on vinyl) and instead spend money on vintage pressings. Ymwv.
Exactly! That was what I was trying to convey, not as succinctly as you though. Miles Showell is decent at what he does. I never bought anything that he cut and thought it was terrible. However, there are mastering engineers who cut Tommy that are better than him, including but not limited to George Peckham, Kevin Gray, Chris Bellman/Bernie Grundman. I’m not sure if Bellman or Grundman cut Tommy for Classic.
The number of albums I have with a Miles moniker on it suggests he's hardly a beginner either and the sound is up there to match.
That’s fine. I already have other pressings of this album including the Classic Records reissue and Kevin Gray cut, where I do not need to spend the money. Again, I highly doubt that Miles version will better those cuts.
LOL, I don't know where these people come from. Here you have a mastering engineer that is doing all the biggest baddest bands whole catalog and people act like the band can't hear and he's a nobody. Do they not think these records go through test pressings and the artist listing to what being putout in their name? In fact the band Sade personally went in and worked on there records side by side with Miles. Then you'll get some yahoo saying online that the records don't sound like they should, interesting the band though they did.
I always thought the Classic Records reissue sounded good. That was my go to in my vinyl spinning days. Same for Who's Next, Live at Leeds, and Quad.
There are many cases where the artist/band approved crappy mastering. The Rolling Stones have done so, one example being "Blue and Lonesome" which is really ruined by loudness. So even the biggest baddest bands don't always make great decisions when it comes to their own releases. Then there are instances where the band just doesn't get asked for approval, or don't bother to do so.
Having both his Live at Leeds and Seconds Out, plus several others, I think his work stacks up. Kevin's work on Stadium Arcadium was terrific, but that standard isn't beyond Miles' skillset. He's a good mastering engineer and I'm comfortable when I see his name on the release.
I forgot about the Kong one. I have one or two because together the 2 of them play great lol. Wish I could part with 1! May have to try another playgrade...sigh...
I have dozens of them and have come to the conclusion that The only reason to buy Abbey Road half speed mastered reissues is if you are looking for something that is “clean and flat and not too bad for something cut from digital.”
The only vinyl copy of Tommy I have is the Simply Vinyl pressing. I seem to recall these reissues have also had bad reviews as the years have went by. How does yours compare to the half speed box set version?
Pass for me. I just don't need it. Tommy is my least favorite Who album from the band's classic era and I just don't play it often enough to justify another copy. I'm sure it will sound okay, but may not be the best version out there. People on here tend to prefer earlier copies or AAA audiophile reissues FWIW.
As a long-time Who collector of vinyl releases (as well as CDs and occasionally HD Tracks versions) I have a silly number of copies of Tommy on vinyl. Several first issue Decca copies (with stamped matrix numbers), some MCA reissues, a UK Track with the alternate Eyesight to the Blind, the Phases German box set version, Simply Vinyl reissue (avoid!!!), the Classic 200g reissue, the Kevin Gray mastered reissue, and probably more... I finally acquired the Gilbert Kong mastered LP (an Allentown 1971 reissue with weird looking labels) in great condition. This is now my favorite pressing of this LP - loud, punchy and somehow a bit more detailed, especially the vocals and acoustic guitar parts. It seems to have a bit less sibilance than other copies I own, but somehow Mr. Kong was also able to deliver some extra "secret sauce" within his mastering. Though I am a devoted Who collector and will probably fork over the dough for the Miles half-speed remaster I am pretty sure it won't deliver like this 1971 G.K. pressing does. @Steve Hoffman - have you owned this pressing? I am a big fan of Gilbert Kong's work (his work on the old Rod Stewart LP's sounds AMAZING!) and I don't know what he did to achieve the results but it's palpable. Cheers Who people!
I stumbled on a DECCA/subsidiary of MCA Tommy in a bookstore in Saugerties, NY a couple weeks ago for $10, and I'll be damned...it looks practically unplayed, and actually plays that way. Great detail on acoustic guitar and stereo effects. Can't tell if it's Gloversville or Pinckneyville or whatever. Lots of versions with similar stamped matrix numbers. Definitely not Gilbert Kong's work. It does have round, clear plastic inners, very much like some Columbia LPs had in the '50s and '60s. Don't know if those are original. I was mildly interested in the upcoming 1/2 speed version, but might end up giving it a pass.
I have Seconds Out and it's fantastic (to me at least). But Tommy is not being cut from digital, IIRC.
I didn’t know that Miles S did AAA projects in the 1/2 speed series. Where’d you get that information?
With advertising of records that are being reissued a company might say mastered from the original master tapes. While that can be true, it doesn't mean it was mastered on a analog system. Miles can get the analog tapes, but he will make a hi rez digital file, master and cut in the digital domain.
Piling on here, but Tommy will be cut from digital. That’s great that you think Seconds Out is fantastic, but nobody (well, almost nobody) is claiming he and his chain can’t make a good record. It’s more like his track record is varied, with many being just okay. Some of that is certainly sources, but some is likely his aesthetic choices and some his process choices.
