EdAInWestOC wrote:I own several Rhino reissues including Chicago Transit Authority, Chicago (sometimes known as Chicago II) and Joni Mitchell - Court and Spark. Each of those reissues are superior to any original pressings that I've heard.
Thats a big claim but I've had the opportunity to compare both Chicago albums with a fellow vinylphile and we exchanged a number of CDRs with cuts from each album. Without a doubt the Rhino pressings are better than any CBS pressing that either I or my friend owns or has heard of those fine albums.
The Joni Mitchell reissue has been mentioned by Mike Fremer and I have compared the Rhino reissue to several pressings of that LP that I own. I have compared the Rhino reissue to an original US pressing, a CD-4 quad pressing and the Nautilus reissue.
The Nautilus pressing was my favorite until I tried the Rhino pressing. The Rhino was every bit as good as the Nautilus with the exception in the quality of the vinyl. I have come to accept that there is little chance that new vinyl will ever reach the quality level that MoFi and Nautilus used back in the 1970s and 1980s.
The Rhino Court and Spark has all of the dynamics of the Nautilus release and betters it in low level definition. And that is tough.
I consider Rhino every bit as good a label as Mobile Fidelity, Acoustic Sounds and the now defunct Classic Records. They achieved this without any fanfare or any claims about being a audiophile label. Rhino pressings have an asking price that is comparable to other top quality reissue labels and they are worth it.
The issue of Joy Divisions "Unknown Pleasures" is nothing special, in fact my copy was as badly warped as my original Factory pressing bought on the day of release over 30 years ago, which I though was taking "replica" a bit too far.
The release of "Never Mind The B******s" is ok, but the original Virgin UK issues are far better.
I believe you. All I can say is the experience that I've had. I don't own any bad Rhino vinyl. I have a couple that are just OK (TRex Electric Warrior and Crosby, Still & Nash) but even those are nicely pressed. The C, S & N has some decent sonics but not spectacular. The TRex pressing sounds rolled off and dead (like an old poorly cared for tape). It is possible that the C,S & N is an issue with the master tape and you can't make a silk purse out of a sows ear...or something like that.
Too many people bash reissues and I suspect that many of them are just old master tapes that were not decently recorded to begin with. I have collected quite a few reissues from Rhino as well as Mobile Fidelity, Acosutic Sounds and others. Most of the reissues are very good and the only ones that I won't buy anymore are the "Back To Black" reissues from Universal.
In the 21st century they are capable of releasing reissues that are better than the original pressings if the master tape is in decent shape. Technology has advanced and other such reasons but we can have better pressings if the manufacturer and pressing plant cares to make the effort.
They do cost more but I paid $25USD back around 1980 for original Mobile Fidelity releases and the asking price now hardly reflects that cost adjusted for inflation. In short the asking price for high quality pressings now is somewhat a bargain compared to the heyday of audiophile pressings.
I bought the first release from Quality Record Pressings, the new record plant setup by Chad Cassem in Salina, KS USA. It was Cat Stevens Tea For The Tillerman and the pressing was the best quality I have seen since the pressings Mobile Fidelity had JVC Japan produce back in the 1970s - 1980s. The sound quality was outstanding, the vinyl was extremely quiet, the LP was completely flat, the hole was punched dead center, the excess vinyl was neatly trimmed, the cover was beautifully made and all of the packaging was perfect. What more can you ask for?