Right. I was about to write that I have a US 1st but if you say it's better, that's enough for me! (I can't be sure now but I think I saw 'Strawberry' in the dead wax of a later Japanese LZ but it could have been a US now I think about it.)
I've never heard any other vinyl versions, but I definitely prefer my Canadian copies to any of the new remasters. They're a lot warmer (although I can understand that some may not like that) and a lot "dirtier" sounding.
Thanks for posting that! The provisional sleeve on this is very thin and delicate - it's hard to find one in very good plus condition (I got lucky) - the one for sale on Discogs is in pretty rough shape, unfortunately.
I did another A/B between my RL and The Japanese MT1091 and yes the sound levels are different, I level matched as close as I could by ear and the MT1091 does have a more pronounced midrange.
I have not heard a IV UK plum, but I just picked up the 200g Classic and it is incredible! I'm hearing sounds I never heard before and the whole album just opened up.
For Led Zep III, the Canadian pressing is world's above the original U.S. pressing. Smooootthhhhhhh is the word for this pressing. The Canadian just pulls you into the music.
I agree. For those who like it smooth and like turning the volume higher and having the impression that it's still not high enough, the Canadian pressing is pretty impressive. You really get a jolt at the sudden ending of The Immigrant Song.
I think it's important to make the following distinction here. The only Canadian pressings that have the real magic on LZ I, II & III are the early 1st issue red label versions. Later CDN red and green label recuts from Don Mills and TLC ( The Lacquer Channel),etc from the early/mid 70's, though nice, are nowhere near the same as those first early CDN red label Atlantics.
I bought the Classic Records reissues when they were being released and have always been happy with them. I now own a UK plum III with the Grant credit on the label and an early UK plum IV and they are my go to copies for those albums.
The Canadian pressing is smooth but its poor and muddy sounding compared to the UK A5/B5 Plum. The clarity and midrange on the Plum is what really stands out and it was cut from the original master tape unlike the US and Canadian pressings.
Of the versions I've heard/owned I prefer… Led Zep I - Classic Records (200 gram) Led Zep II - R. Ludwig pressing (I also own the MFSL half speed) Led Zep III - The current reissue (I also own the Classic Records 200 gram and an original US pressing) Led Zep IV - the early 80s "new audio" pressing (I also own the Porky/Pecko and the Classic Records 200 gram) Houses Of The Holy - R. Ludwig pressing (I also own the Classic Records 200 gram) Phys. Graf. - I've no opinion as I've only heard the US pressing I currently own--which is no great shakes. Presence - The current reissue (I also own the Classic Records 200 gram and a US original pressing) In Through The Out Door - The current reissue (I also own the US "strawberry" cut) Coda - I don't own on vinyl.
I never heard the UK Plum, so I will take your word on it. I don't know if I would call the Canadian "muddy," as when I first heard it I was thrilled at the sound being so far from the harsh hash that I was hearing from the original U.S. vinyl. Let's just say that the Canadian pressing doesn't make me want to seek out other pressings. Finding a clean UK would entail some cash via ebay, as most record shops in the U.S. won't have that pressing.
OP: In the interest of clarity, do you have the CDN Red label Lp to compare? I agree with most of your compiled/polled opinions but by your own admission/posts, you started this thread compiling the general forum consensus and stated it was not always your own direct personal observations. Not an attack, just trying to keep the info here as relevant as possible. Here's your quote: Was mostly based on forum opinions of best pressings for each title. Lots of replies as to which were the best and these tended to be mentioned the most as the best u can get.
Thee is no 'original' US pressing. There were several. My US Monarch is pretty close to my UK A5/B5 pressing...the edge going to the UK. You have to listen to the two back-to-back as its not that obvious.
The Canadian pressing may not be the best cut of Zep III but it's far from sounding muddy. Maybe its my system or my ears, but I believe the Canadian red label provides satisfying results in the clarity department. I would also say my US Monarch cut of III is not muddy at all and has great clarity but the US is a notch below the Canadian. I love the bass on the Canadian pressing!
My findings are a tad different, I've had/have a few B'Way Mastercrafts, MO included. currently my fav is an -A/-A PR with different quotes on the sides, I have found that fact coupled with lower stamper numbers brings the best of this album out. I also have a plum A5/B5 and, IMO, the US & UK's just don't seem to be sourced from the same tapes. Having said that, the better of the Mastercrafts are super sweet listens! There are just so many duller ones out there (US) that's it's hard to know if we're always comparing apples to apples on this forum.
To be honest i have only heard pbthal's needledrop of the Canadian press but his drops are usually top notch and representative of whats on the LP. The US pressings i've heard were a Presswell and a later SD19128 reissue using original stampers, can't remember where it was pressed. Both had the mastercraft Crowley etchings. Both were muddy but i've read here the Monarch A/A 1st pressings were the only ones cut from the master? Who knows, others state the UK was the only one cut from the master!
Yeah, I think the term ''muddiness'' or ''veiled'' are relative. I think we've grown so used to everything being so bright - including movies - that anything that doesn't have an exaggerated top end is seen as being muddy. I doubt that people who had the above-mentioned Canadian pressing in the 70's ever complained that it sounded muddy; in fact, a lot of records from that era sounded similar - including all of my Genesis, ELP, Who's Next, etc. I just find it disappointing (for me) that most of the ''remasters'' of the classics actually sound brighter than some of my recent Heavy Metal records.
I own a bunch of pressings from all over the globe. They are the only ones I've heard so I guess that makes them the ultimate to me.
Hey, all. I've been going through my Led Zep LP's one by one this week while reading through this and a couple other threads on the subject. One thing for sure, Zep on vinyl is one tough nut to crack. Anyway, here's what I have so far: 1. LZ I - US 1st pressing LP 2. LZ II - US pressing LP (from maybe '73-'74, I think) 3. LZ III - US 1st pressing LP (I forget the exact deadwax phrases, but mine has them) 4. LZ IV - US 1st pressing LP ("Porky/Pecko Duck") 5. Houses Of The Holy - US 1st pressing LP (Sterling RL) 6. Physical Graffiti - US 1st pressing double LP 7. The Song Remains The Same - US 1st pressing double LP 8. In Through The Outdoor - US pressing (non-STRAWBERRY) The first 7 are Presswell copies (PR in deadwax). The ITTOD is an interesting one. If my vinyl detective work is right, it's a Specialty pressing (I think it has that "S" with a smaller "R" and "C" inside the S-curves? Something like that, Plus I see an even larger "S" by itself in another spot). Anyway, that LP sounds BETTER than my STRAWBERRY pressing. Less-veiled, with more life to the music. I've seen mention of a similar pressing from a couple other people who stated similar results. And the sound gets noticeably-better as the needle works its way through each side. Predictably, "In The Evening" and "Carouselambra" both have the worst sound of all the tracks (track 1 on each side), but this seems to just be a factor of the recording if I had to guess, but the other songs sound a lot better. In fact, the last track on each side sounds best. And thankfully, this pressing is nice and quiet unlike my STRAWBERRY copy, which is a noisy disaster. My copy of IV is exceptionally-good in terms of sound quality. It really stands out as one of the best of my Zep pressings. Quiet too. And the HOTH RL is a standout as well. My copy of the debut sounds great, but it rightfully should, especially on my table, which is perfectly-suited for late '60's tube-cut vinyl like that. I doubt it's a super-hot stamped or anything like that, just really really good. My copy of II is a Piros cut, and I think that's a good choice for those looking for cheaper, non-RL pressings of that album. He did a good job on that one. I haven't played III in a while, but I recall it sounding quite-good (III was never my favorite Zep album... Aside from a couple tracks, I think I actually prefer "Presence" as an entire album per se). "Physical Graffiti" has it's moments, but that album is rather uneven in terms of SQ, so it's a hard one to judge. My copy is in excellent shape, but as with basically any early PG pressing, it's a little noisy at times. "Ten Years Gone" sounds sounds awesome though. I played that whole album last night and really enjoyed it. My "Song Remains The Same" is actually nice and quiet and sounds great, considering the SQ of the recording itself. I still have to find a good copy of "Coda" and "Presence", but I might try the new remastered LP's for those, as the latter was supposed to be the most-improved of the bunch. But first, I'll be checking out the new "Pet Sounds" and "Headhunters" LP's from Analogue Productions, as both are getting some rather big praise (Those are two of my favorite albums of all time... I really need a great vinyl copy of PS, and I need a BETTER vinyl copy of HH, as the US 1st pressing is rather-two-dimensional and devoid of life... I always felt that recording should be able to really knock people out, given the right treatment, so I'm really excited about those two new reissues, which I'll be picking up after I receive the two records I just ordered from Acoustic Sounds... One is the 45rpm "Hits From Shaft" EP [Isaac Hayes], which I'm REALLY excited to hear, and the other is a West German pressing of the original "Shaft" double LP… Back around the holidays, I had picked up the Stax double LP reissue of that soundtrack and was very-surprised at how good it sounded... I mean, it really stands out, and this is on my vintage '60's tube setup... It was odd, especially considering the fact that I couldn't find a thing about it online in terms of mastering info or reviews... That having been the case, I naturally assumed it was a run-of-the-mill digital vinyl reissue, but it sounds lively, clear, and very-dynamic, not to mention warm, so I had to investigate further and find some other pressings to compare to it... I avoided the US original, as that pressing was a botch job... Mastered way too hot... But anyway, that's a whole different kettle of fish... Sorry for the sidetracking.... I have a big problem with that sometimes... It's like this one time where-.... Nah, I'm just messin' with you guys... I do have a problem with that though).
Not a LZ fanatic but do have vinyl,CD,and cassette versions (even a few 8-tracks) of most titles. Picked up the vinyl 2014 LZ III reissue the other day and after a few listens and compares to 2 master craft originals I have to say I like the 2014 better especially the companion disc. In some way that stuff sounds more exciting than the original LP. At first, the main LP didn't sound "right" but when i compared to originals and adjusted my tone settings just a tad it came into focus much in the same way as the most recent Sticky Fingers RI . I wasn't sure about it at first,took awhile but I've adjusted it and to it.
You always claim this, but IIRC all you've admittedly heard is a needle drop of (dubious origin) of the Canadian red label pressing. On the other hand, I have both the early Canadian red label pressing and an A5/B6 plum label. The Canadian is appreciably better, IMO -- master tape or not.
