My LP Collection

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My Stereo System

My stereo system is quite basic. I have a Linn Sondek LP12, circa 1982, with a recently-recapped Valhalla power supply, pre-Cirkus main bearing, and Dewaudio Starmap baseplate. I have no need for 45 rpm and while I am sure the highly specced 45 rpm versions of albums available to the public must be excellent, I do not want to get up every ten minutes (or less in some cases) just to turn over a record. It also defeats the whole purpose of LP – Long Play. The LP12 has a Ittok tonearm, with a Audio Technica VM95ML MM cartridge. This drives a little iFi Zen phono stage which really is way better than its price or shape suggests. I have a Valve Audio Predator stereo amplifier dating from 2007 and a pair of Bowers & Wilkins 703 loudspeakers which I purchased in 2005, connected with a pair of Ecosse MS 4.45 cables, biwired.

This is not meant to be a hardware review, but the Dewaudio Starmap baseplate has really made a big difference. Structurally it strengthens the plinth as it has quite a number of connection points around the plinth. It also allows easier access to the suspension springs and the tonearm cable. In addition, it offers more airflow and heat dissipation. Lastly the feet are height-adjustable. Sonically it has cleared up the slightly muddled sound older Sondeks are known for. There is an improved sense of space. It has been worth every cent.

My Vinyl Records

This is the third time in my life I have started a vinyl collection. 1980-1988 was the time I was at university, bought my first decent hifi, and then gave in to the CD craze, and sold all my records, about 400 of them. 2004-2011 was the time I had a lot of vinyl, returning to the format in 2004. Then I left to live overseas for 14 years, and sold everything, about 600 titles, most forever out of print. I restarted in 2023 after finding a LP12 for an absolute bargain. I never planned to get back into vinyl. It just happened. Recently my son has started showing interest in vinyl and many of the albums shown here are his contribution to our collection.

Initially I looked at vinyl fairs as a source for good music. While I found some gems, there were also a few mishaps. Few second-hand sellers seem to understand how grading works. After an expensive mishap, I vowed never to buy pre-owned vinyl again, unless I know the source of the record. VG+/NM to my mind means the cover will be OK, but the vinyl must be as good as new. Then again, we understand that vinyl is a fragile medium. I have new titles, less than two years old, that have surface noise, but others, some close on 45 years old, are perfect. It is what it is. Nowadays I buy online via Bobshop, where I have identified vendors whose ratings you can trust, and Mr Vinyl, from whom I have purchased exceptional pre-owned titles, with excellent service from the team.

Comments on the CBS Mastersound series of pressings
CBS Mastersound

At the start of the eighties, CBS, including their Epic and Jet labels, started releasing what they called audiophile pressings of titles in their catalogue. These albums that were distributed in the USA by Columbia (CBS) and were made using CBS’ Mastersound half-speed mastering process. There is no need to explain the process in detail – the cutting lathe runs at half the normal speed of 33.33 rpm. This allows for more detail to be captured from the master tape. Due to the process used, there will be some equalisation required. Many other audiophile labels used the same technique, including Mobile Fidelity Sound Lab (MFSL) and Nautilus SuperDiscs.

The CBS series contains some memorable releases, including Pink Floyd’s Wish You Were Here and Billy Joel’s 52nd Street. There were some that were absolutely spectacular, such as Wish You Were Here, and then there were those who were thought to be less than stellar. Over the years I have owned, or now own, many of these albums and have always found them to outperform the standard pressing of the album. However, there are many so-called “audiophiles” (and I hate the term) that will use every opportunity to tell the world how bad these recordings are. I have never had a bad recording in this series. If they were so bad, why then does Wish You Were Here and some others still command top prices? They would not be in demand if they did not sound good.

I have a number of CBS Mastersound pressings, and where I like the music, I will buy a Mastersound copy if I find one. They were well-pressed, well-presented, and overall sound good. That is more than enough for me. To the critics I say, be on your way.

What I show below is a collection I am slowly building up, with some comments. The maximum number of albums I will keep is 100. Once I reach this, for every album I want to add, one has to go. This prevents impulsive buying but it also weeds the collection by removing titles that are not essential. [ You can follow me on Instagram. ]

The Future of My Collection

What happens to my record collection when I am no longer around? [ Here is the answer... ]

Current Collection

Number of Albums: 0. I have decided that for 2026 I will have no more than 100 albums in the collection at any time. This means if I want to buy or add to the collction, I need to dispose of something I already own. This will help to maybe weed out impulsive purchases of the past, ensuring the 100 I have are what I like and will actually play.

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ABBA, Arrival, Nautilus ABBA's Arrival (Atlantic, Nautilus, USA) was the first vinyl record I ever owned, way back in 1977. In late-2025 I was lucky to find a Nautilus Superdiscs pressing, which was obviously way better than the local pressing I had at the time. It is in an absolutely mint condition. These Nautilus half-speed mastered pressings were special, with super quiet vinyl that sounded way better than the standard issues at the time. I had quite a few of them back then and am slowly rebuilding the collection.

Arrival contains some classic ABBA songs, before personal issues hit them. There is simply not a bad track to be found. The recording itself is standard and lacks bass. It is only with their much later titles that the recordings were really top notch.

While the original Nautilus Superdiscs technical details contained on the inserts these albums used to have are long gone, the cover, standard insert, and vinyl are in a great condition. As with all vinyl I purchase, whether new or pre-owned, this one too will get some scrub, suck, and ultrasonic treatment.
Blood, Allison Moorer Allison Moorer's Blood (Autotelic Records, USA) was a special import, handled by Echo's Record Bar. A mix of blues, pop, gospel, in a typical southern US style, Blood tells the story of singer Allison and her sister Shelby Lynne, dealing with the trauma of one parent killing the other, and then himself. The pressing was done on a budget. I believe Moorer deserves a contract with a company that can do her work justice and promote her much further than she is known at the moment. Nevertheless, it sounds good. The sleeve and artwork are simplistic but then more is not always better.

If you have never heard of Allison Moorer, search for the theme music for the movie The Horse Whisperer, called A Soft Place to Fall. Also find the excellent track, Carrickfurgus, recorded as part of the BBC's The Transatlantic Sessions. Unbelievably good music by artists you may not have heard of – Jerry Douglas, a famous dobro player; Amos Lee; Alison Krauss; and more.

The album ends with the beautiful song "Heal", a desperate plea for guidance and faith, even as an adult, as the trauma she endured so long ago is still with her.
Alison Moyet, Alf Alison Moyet, Alf (CBS, UK). What an absolutely outstanding album this is. I remember Alison Moyet from her days with Yazoo. Her first solo effort is just on another level. The first song, Love Resurrection, sets the tone. Hard-hitting and dynamic, Moyet's voice is powerful yet passionate. There are many outstanding singles – Love Resurrection, All Cried Out, and Invisible are my three favourites.

Many years later, she would have this to say about her first solo effort: "I have, in the past, distanced myself from Alf. Because there were things about me at 21 that I could no longer relate to and it's slightly odd to sing the lyrics of a 21-year-old as you age. But distance creates a love. I fell out with Alf because I felt like that, after making subsequent records, it was like walking down the street and being told, 'I liked you better when you were going out with him.' When you're older you can see that your first love was actually a really nice soul." It may be true for her. For me, I never grow tired of it.

Mine is a UK CBS pressing, a really standard affair but elevated by the great dynamics of the music.

What's next for this album? Looking for a new reissue or a pre-owned title in VG+ and better condition.
Al Stewart, Year of the Cat Al Stewart, Year of the Cat (MFSL, Janus Records, Japan). I used to own many MFSL, later MoFi, titles. Back in the eighties your go-to for better sound was MFSL, Nautilus, Nimbus, CBS Mastersound, and some others. My first ever MFSL title was Dark Side of the Moon. Years later, I got my first copy of Year of the Cat. To this day it stands out as one of the definitive releases by Mobile Fidelity Sound Lab. Alas, it was sold along with the rest of my vinyl some 15 years ago.

I recently found a copy again, the first release with the non-italic text at the top of the sleeve. This is the one to have, or so I have read. It sounds great, with verry little surface noise or damage given its age. These MFSL pressings are never going to be available again and that most have survived so long testifies to the high quality releases they were. What stands out for me on this album? Well, Stewart is a very underrated artist and maybe some will not like his lean voice. Then again, this is what makes the artist unique. I can single out some tracks – Lord Grenville, Sand in Your Shoes, and Year of the Cat, but this is a cohesive album and everything fits nicely together. I love the saxophone work on the title track. Have you noticed how many bands used saxophones? Think of Supertramp, Gerry Rafferty, Pink Floyd, and others.

Some are starting to realise the value of these older MFSL titles and prices are sometimes high. What is a specific pre-owned title worth to you? All in all a great addition to my growing collection.
Anna Tomowa-Sintow, Soprano Anna Tomowa-Sintow (Capriccio, Golden Voice Collection, Germany, 2LP). Bulgarian soprano Anna Tomowa-Sintow was one of the defining voices of the operatic stage during her years under Herbert von Karajan at the Berlin Philharmonic. This album, pressed using the DMM (Direct Metal Mastering) process, features arias from some of the great Verdi operas: La Traviata, Nabucco, Ernani, Die Macht des Schicksals (La Forza del Destino), Aida, and Othello. It is a testament to her power, warmth, and technical control. The album received the Preis der Deutschen Schallplattenkritik (the Prize of German Record Critics), a well-deserved recognition. If you have not encountered her voice before, this is an excellent introduction. The DMM pressing ensures superb detail and a quiet background, allowing the full dynamic range of her voice to come through.
Arno Carstens, Gala Arno Carstens, Atari Gala (Gallo, EU). This is great music. I had never been a follower of Arno Carstens before, but when a good friend recommended this album, I got it immediately. Now with some South African artists who have records pressed in the EU, there is often the complaint that the album was done using a CD rip. I have no problem with this. We have to understand that the South African market is small and few artists can afford the mastering costs involved to produce albums using analogue tape as the original source. Remember that many of them are either independent, or their record companies just do not have the funds to invest in a vinyl product that will sell only a few copies. For me the allure here is that I have a vinyl copy. Whether the source is analogue, DSD, or whatever, is less important in certain cases. Atari Gala is what I will call "expanding my musical horizons".
Ludwig Van Beethoven, Pastoral Symphonie Ludwig van Beethoven, Pastoral Symphony 6 and Symphony 7 (Auslese, Germany). Years back I collected most of Beethoven's works, mostly conducted by Kurt Sanderling. Today, those Deutsche Grammophon and EMI titles are very expensive new, and pre-owned purchases can be risky. However, a friend gave me this copy, done by Auslese/Pergola in Germany. This is said to have been a budget label, but what a great presentation this is. Perfectly pressed by Phonogram, this edition, headed by conductor Paul Paray and the Detroit Symphony Orchesta on Symphony 6, and Paul Van Kempen and the Berlin Philharmonic on Symphony 7, in no way stands back against any of the "great pressings". I have yet to inspect the deadwax, but other than indicating ℗1964, ℗ being the Phonogram identifier, along with a catalogue number, there is nothing that indicates where it was pressed.

Symphony No. 6 is a "Pastoral". Symphony No. 7 is not, though it is often bundled with it. Symphony No. 6 in F major ("Pastoral", 1808) is one of Beethoven's most programmatic works, depicting scenes of countryside life across five movements, a rare structure. It evokes birdsong, a flowing brook, a peasant gathering, a thunderstorm, and a shepherd's grateful hymn afterward. Symphony No. 7 in A major (1813) is driven by irresistible rhythmic energy. Its second movement "Allegretto" is beautiful and remains one of Beethoven's most beloved passages. Once again, this album is superb and does not appear to have been played much by it previous owner(s).
Beethoven, Fidelio Highlights, Maazel Ludwig van Beethoven, Fidelio – Highlights (Decca, UK). Beethoven's only opera, Fidelio, is a work of redemption and courage. This Decca highlights disc features a stellar cast: James McCracken, Birgit Nilsson, Tom Krause, Kurt Böhme, and Hermann Prey, under the baton of Lorin Maazel with the Vienna Philharmonic and the Chorus of the Vienna State Opera. Decca's production values were always exemplary, and this pressing is no exception. For those new to Fidelio, a highlights disc is the ideal introduction to this rich and dramatic opera.
Beethoven, 9 Symphonien, Karajan Ludwig van Beethoven, 9 Symphonien (Deutsche Grammophon, Germany, 8LP). This is the iconic Herbert von Karajan and Berliner Philharmoniker cycle of all nine Beethoven symphonies on Deutsche Grammophon. Karajan's Beethoven symphony recordings are among the most celebrated in the catalogue. The Berlin Philharmonic under Karajan was simply one of the great orchestras of the world, and this complete box set is a genuine treasure.

If there is one thing about this set I do not like it is that the nine symphonies are not spanned across nine records, one for each symphony. For example, Symphony 5 starts immediately where Symphony 4 ends, and only the first movement is played before you have to change the record. It is not ideal, but I will have to live with it.
Beethoven, Violin Concerto, Menuhin Ludwig van Beethoven, Violin Concerto (EMI Digital, Germany). Yehudi Menuhin was one of the greatest violinists of the twentieth century and his recording of the Beethoven Violin Concerto in D major with Kurt Masur and the Gewandhausorchester Leipzig is a fine example of his artistry. Menuhin brings warmth and humanity to every phrase. This EMI digital pressing is well-presented and the recording captures the orchestra beautifully.

My pre-owned copy was purchased by the original owner in August 1984. This owner had the habit of penning down the purchase date of all of his records. A few very mild pops are present but the pressing itself is dead quiet. If you have ever only associated Beethoven with the piano, get this album and learn that he was also an expert violin player.
Bizet, Carmen, Bernstein Georges Bizet, Carmen (Deutsche Grammophon, Germany, 3LP). Leonard Bernstein's recording of Carmen is one of the most celebrated in the catalogue, and rightly so. Bernstein brings a theatrical intensity and sweeping drama to Bizet's score that few conductors have matched. Marilyn Horne is a magnificent Carmen – rich, seductive, and utterly convincing in the role. James McCracken is a powerful Don José, and Tom Krause a compelling Escamillo. Adriana Maliponte is a fine Micaëla. The Orchestre National de France plays with precision and passion under Bernstein's baton.

This is Carmen treated as grand opera rather than opéra comique, and Bernstein makes a compelling case for that approach. The score's drama is given full weight, and the famous arias and ensembles are delivered with tremendous conviction. A beautifully pressed Deutsche Grammophon 3LP set and an essential part of any opera collection.
Billy Joel, 52nd Street Billy Joel, 52nd Street (CBS, Impex Records, USA), was one of my favourite LPs of the eighties. Back then I had a CBS Half-speed Mastersound copy that sounded excellent at the time compared to the standard pressing (CBS import, whether UK or USA). Many years on, I managed to track down an Impex Records pressing which is said to be the best sounding version you are going to get of this title. It is also a special limited edition pressing, now out of print, and I have number 966 of 2500.

I just love this album. Based on the music scene in New York in the late seventies, this is a jazz-oriented album. The intro song, Big Shot, starts off the album as a very sarcastic and accurate look at rich people of the time, spending their time in clubs, snorting cocaine, and living the high life. Boozing to excess in the evening, all they have left the next morning is a massive hangover. Joel would have seen this while playing in clubs himself.

What follows is an unusual string of successive hits – Honesty, My Life, and Zanzibar. There is not much of a bad track in sight. The title song ends the album. It is short but emphasises the jazz mood set from the second cut. I have read some reviews that say this cut should not even have made it to the final production, but it sounds awesome and is a great way to run out a brilliant album. Absolutely worth every cent I paid for it. The Impex pressing is absolutely outstanding.
Boston, Self-titled Boston, Boston (CBS Mastersound, Epic, USA). I had always wondered what the fuss was about this album, until a Mastersound copy in near mint condition came my way. Now I understand what makes the album special. As a youngster in the seventies, for whatever reason, I never listened to this band or had any of their music. Then again, everybody knew "More than a feeling", which starts the album. The rest of the songs I am trying to get used to. The pressing is outstanding. I just have one small issue: on Side 1 the label is dead centre, but the printing on it is way off-centre. Probably a minor issue, but something I do not like. While I purchased this pre-owned, I am sure the first owner may have been a bit put off given the higher price these releases commanded.

What's next for this album? It's for sale, to anyone who is interested. [ More information here... ]
Gunther Brausinger, Organ Magnificent Günther Brausinger, Organ Magnificent (Polydor, Netherlands). A collection of well-known works arranged for organ, drawn from Bach, Handel, Beethoven, and Chopin. The pipe organ is one of the great instruments of the classical tradition, and Brausinger brings a commanding presence to this repertoire. The familiar melodies take on a different character when heard through the full range of the organ, from the delicate upper registers to the deep, resonant bass pipes.

This is a Polydor pressing from the Netherlands, which was known for producing well-engineered records. An enjoyable album for those who appreciate organ music, and a fine demonstration of the instrument's expressive range across composers from different eras.
Die Briels, Op Trein na Pretoria Die Briels, Op Trein na Pretoria (Trio Records, South Africa). Afrikana at its best. My son found this at a vinyl fair and bought it for me on the spot, purely for the memories. I explained to him that we should see the Afrikaans music of those years in context. It is in the same tear jerker style as many American country songs.
Foreigner, Cat Stevens Cat Stevens, Foreigner (Island, UK). My son bought this for the stunning quality of the cover, and the embossed title. Side 1 has a factory flaw on it and no amount of cleaning will take care of it. It is a well-known problem with the pressing. I am not a huge Cat Stevens fan but can enjoy the artistic quality. Many of his songs were covered by others.
Cat Stevens, Tea for the Tillerman Cat Stevens, Tea for the Tillerman (Island, EU). Have you ever bought an album you should have bought years ago but never got around to it? Tea for the Tillerman is one such for me. Back in the eighties it was available from MFSL, today called MoFi, and I never thought of investigating it. My fondness for Cat Stevens actually came from artists who did covers of his music mach later, such as Mathys Roets. My copy was bought brand new, a birthday present from my son. It is an Island EU reissue, 180 gram, and sounds fantastic.

What's next for this album? Nothing. My pressing is great and I doubt if another remaster is going to add anything of value.
Cat Stevens, Teaser and the Firecat Cat Stevens, Teaser and the Firecat (Island, South Africa). Somehow this album should partner Tea for the Tillerman, but I am really having trouble settling down with it. It is just not on the same level. I have a local pressing, given to me by a friend, to test it out. I am not sure if I will spend money on a new copy. It has a few good songs, but not the depth of Tea for the Tillerman.

Update: I sat down and listened to the album again. I know Changes IV as sung by Santana on their Zebop! album, then there is Morning has broken, Moonshadow, and Peace Train and I realise I may have underestimated Teaser and the Firecat.

What's next for this album? Looking for a new reissue or a pre-owned title in VG+ and better condition.
The Charlie Daniels Band, Fire on the Mountain The Charlie Daniels Band, Fire on the Mountain (CBS Mastersound, Epic, USA). Originally released in 1974, Fire on the Mountain is one of the defining albums of Southern rock and country-rock. The CBS/Epic Half-speed Master from the early eighties is an excellent pressing and a fine way to have this album. My copy is in a mint condition.

The album opens with No Place to Go, which sets the Southern rock tone immediately. Long Haired Country Boy is arguably the most well-known track here, a loose, bluesy number that still sounds fresh. Orange Blossom Special is a showcase for Daniels' fiddle work, and the title track closes Side 1 with a raw and energetic performance. The South's Gonna Do It, a celebratory ode to the Southern rock scene of the time, is the standout on Side 2 and remains a crowd favourite to this day.

The Epic Mastersound half-speed master does justice to the warm, live feel of the recording. The pressing is quiet and the presentation is what you would expect from the Mastersound series. A great addition to any collection of seventies Southern rock.
Chopin, Nocturnes, Nadia Reisenberg Frédéric Chopin, Nocturnes (Westminster Records, USA). Performed by Nadia Reisenberg. Westminster Records was one of America's great classical labels of the 1950s and early 1960s, producing recordings of remarkable quality for their time. Nadia Reisenberg was a distinguished American pianist of Russian origin, and her affinity for Chopin was well regarded. The Nocturnes are among Chopin's most intimate and personal works – lyrical, introspective, and requiring a pianist of great sensitivity and control to bring out their full depth. Reisenberg delivers exactly that.

A Westminster pressing from the USA is always worth having. These were well-engineered recordings and the pressings themselves were of a high standard. If you have any interest in solo piano music, Chopin's Nocturnes are an essential part of any collection, and this is a fine way to have them.
Chris Jones, No Looking Back Chris Jones, No Looking Back (Stockfisch Records, Germany). You may not be familiar with this artists or title unless you have heard of the German Stockfisch Records label. Chris Jones, who passed away in 2005, was their number one session guitarist. Apart from his own album for Stockfisch, Roadhouses and Automobiles (45 rpm DMM), some of his older material was released by Stockfisch as a double CD, with Moonstruck and No Looking Back spanning two discs. The vinyl version is a classic and a true analogue recording. As with all the other Stockfisch titles, the presentation alone is worth the money. Each LP comes neatly packed in a paper sleeve with antistatic inner. A close look shows ample space between tracks and it just looks professional. These records are usually as flat as a pancake and a casual visual inspection shows this is something out of the ordinary.

Right now there is no distributor for this great music label in South Africa. The problem is that this music is not for everyone since it targets a very specific range of music styles. Have a look at some of other Stockfisch titles I own, The Greater Good, Paul O'Brien, and Sara K.
Kruispaaise, Coenie de Villiers Coenie de Villiers, Kruispaaie (Mountain Records, South Africa). Bought this one new. Afrikaans music has tremendous depth, if you discount the rugby, brandewyn, and "en jy soen my nie meer nie" rubbish. De Villiers is one of the outstanding artists in South Africa and I often wonder what a really well-produced album such as Hart van Glas would be like on vinyl.
Die Reisiger, Coenie De Villiers Coenie de Villiers, Die Reisiger (Mountain Records, South Africa). How I wish his later stuff such as Hart van Glas and Emoji was available on vinyl. De Villiers' earlier work had a few songs that were politically inspired, but I ignore these. I enjoy the music for the fact that these titles will never be re-issued.
Coenie de Villiers, Skoppensboer Coenie de Villiers, Skoppensboer (Mountain Records, South Africa). I bought this one as it had never been opened. You do not often find a sealed record that is 35 years old. Do I like everything on the record? Not by a long margin but overall his music speaks to me. I had the pleasure of seeing him in Montecasino, with the show Karoo Nagte, and it was exceptional.
Dan Fogelberg and Tim Weisberg, Twin Sons of Different Mothers Dan Fogelberg and Tim Weisberg (CBS Mastersound, Epic, USA), Twin Sons of Different Mothers. How did I never know about this amazing album? I know about the two artists but was not aware that they collaborated. Each is a master in his own right. I found this pristine CBS/Epic Half-speed Master for a ridiculously low price. Awesome music, and mostly instrumental, Fogelberg's guitar work is superb and Weisberg's flute is always there, but never as pronounced as in for example Jethro Tull's music. This is one stellar collaboration, which they called "experimental". Well, experimental it may have been, but it was obviously very successful.

This is a great example of the music of the seventies and eighties, and barring a few exceptions, we just do not get music like this anymore. Great tracks include Tell it to My Face, Hurtwood Alley, Paris Nocturne, and The Power of Gold. Compared to some modern recordings this one can feel a bit "compressed" – a description given by someone who listened to it during a vinyl fair in November 2025. However, he compared it to an album on the Stockfisch label, known for sublime recording and sound quality. This record is never leaving my collection.
Dave Brubeck, Time Out Dave Brubeck, Time Out (DOL, EU). Bought this one new online. No sooner did I get it, and I was blasted by some online "audiophiles" that I committed an unpardonable sin by purchasing a DOL pressing. According to them, this is the worst, the pressing was done from bad digital sources, pressed in East Europe, and so the ranting continues. Whatever they say, this is a great sounding LP. I remember what previous pressings I had sounded like, and there is nothing wrong with this one. The gatefold sleeve is excellent, the vinyl is perfectly flat and centred, and there is little to no surface noise. Most of all, the music is just gorgeous. I have many other expensive records that do not sound nearly as good as this one. I get really annoyed with the attitude of so-called audiophiles that blast anything they consider less than their super expensive pressings. How about we start listening to the music and leave others to enjoy what they were able to get and can afford?

My take on comparing different pressings is this: If you happen to have two different pressings of the same title (quite possible, and I own some), and if you have two identical turntables, cartridges, and phono stages (unlikely) and you can compare the two pressings side by side so that each is a reference point for the other, then you can say one is better than the other. However, if you are listening to one copy only, you are not really going to pick out which one you are playing, and it sounds merely like music, as it should.
Dave Grusin, Discovered Again Dave Grusin, Discovered Again! (Sheffield Lab, USA). What were we thinking when so many of us got rid of our LP collections in the eighties? Just because the new CD format was introduced did not suddenly make LPs vermin. Years on, I enjoy vinyl more and listen to CD less often. I am slowly building up a collection of titles I had on vinyl previously that we will never again see pressed as reissues. Discovered Again is one such.

Released as a Sheffield Lab Direct to Disc recording, it is one of those marvels of vinyl record technology. Almost 50 years on, and Dave's music is as listenable as ever. Yes, these D2D recordings were often short, but that was because of the limitations placed on the artists. No mistakes could be allowed, or mistakes went through and were forever etched in vinyl which is not a bad thing, really.

I got my copy for next to nothing and it sounds incredible. I previously had the version that was pressed from the tapes made during the recording, the Treasury Series, but to find the original box set was just special. When you listen to this album, also keep your ears open to the stellar guitar contributions by Lee Ritenour. Produced by Doug Sax and Lincoln Mayorga, we just do not have professional artists like these anymore. Back then there was no computer-generated junk; just pure genius.
David Gilmour, On an Island David Gilmour, On an Island (EMI, EU). To me this is one of Gilmour's best solo efforts. The album cover sets the tone for what is to follow. Gilmour was able to maintain a solo career while still with Pink Floyd, although with their later work, the last album being Endless River, the lines between the individual and the group are blurred. For much of their later work, David Gilmour was the Pink Floyd sound. Thankfully by this time it had been years since Roger Waters left the group.

This is a EU pressing and sounds superb. A small thing though – the gatefold jacket is larger than the standard, and your outer sleeve needs to be large enough to accommodate it. Nevertheless, the gatefold sleeve is great and just feels special. It is also very thick. One thing I have found it that it is difficult to get the LP in and out of the gatefold sleeve. This is one well-protected LP! That many of the songs were written or co-written by Gilmour's wife Polly Sampson may irk some, I see no problem here. In fact, Gilmour's new album, Luck and Strange (2024), relies heavily on his daughter's influence. This is a perfect way to pass on the Gilmour legacy.

Will I purchase the other Gilmour albums? Probably the new Luck and Strange. There are certain albums that I have on CD, and they are just fine. This one however, deserves to be in the vinyl format even if only for the fabulous presentation and awesome music.
Frederick Delius, In a Summer Garden Frederick Delius, In a Summer Garden (EMI, UK). Sir John Barbirolli conducting the Hallé Orchestra. Delius is one of those composers who rewards patience and a quiet room. His music is impressionistic and deeply atmospheric, and In a Summer Garden is among his most celebrated orchestral works. Barbirolli had a well-documented affinity for Delius and conducted his music with rare understanding. The Hallé were his orchestra for many years, and that relationship shows in the naturalness and warmth of the performance. This is a fine EMI UK pressing.
Girl in the Other Room Diana Krall's The Girl in the Other Room (Verve, Germany, 2LP) ranks up there as one of the best titles I own. I love the intro, and years ago I bought my first copy based simply on the first song. What a pleasure this album has turned out to be. Spread over four sides, this is an album in a new direction, no doubt heavily influenced by Krall's husband, Elvis Costello. There is nothing wrong taking a new path. There are some darker elements and no doubt the moody tone of Departure Bay is the highlight of the album. I fondly remember the late Heinz Zazek, who would let us sit in his demo room with the huge Magnaplanars and Clearaudio turntable, lights and air conditioner off, and we would be carried away by the haunting piano work on this song. I tracked down this item for a reasonable price locally and it is an anchor in my collection.

One gripe I have with the sleeve is that, the same as the release of 2004, the double album is forced into a single cover. How much better the presentation would have been, had it been presented in a double gatefold, with one LP in each side. It is time that the buying public places more pressure on companies responsible for issuing records. When you pay a premium price, then a decent gatefold sleeve should be standard. In addition, packing records properly without rushing will see fewer disks being damaged in the process.
Dire Straits, Alchemy - Dire Straits Live Dire Straits, Alchemy – Dire Straits Live (Vertigo, Phonogram, UK, 2LP). Recorded over two nights at the Hammersmith Odeon, London, in July 1983 and released in March 1984, Alchemy stands as one of the finest live albums of its era. This copy is a first pressing – an OG – cut from first generation master tapes by Phonogram in the UK. In vinyl collecting circles, that designation matters. First pressings from original master tapes carry a directness and warmth that later reissues, however well-intentioned, rarely match.

Mark Knopfler's fingerpicking guitar style has always been his signature – understated, lyrical, deeply expressive – and it translates to a live setting with remarkable ease. The double album draws on the full range of the band's catalogue to that point: the sprawling, cinematic Telegraph Road; the quiet devastation of Private Investigations; the joyful stomp of Sultans of Swing; the tenderness of Romeo and Juliet; and the instrumental Going Home, the theme from Bill Forsyth's film Local Hero, which closes the album on a note of gentle melancholy.

The recording itself is exceptional. Despite being a live album, the balance is clean and wide, the audience present but never intrusive. You hear the room and the band in the right proportions. Played at a decent volume on a good system, with this OG pressing doing the heavy lifting, this is a deeply satisfying listen.
Brothers in Arms Dire Straits, Brothers in Arms (Vertigo, South Africa). I was doing my national service in 1985 when this album was released. I bought a tape copy on a visit to town, and my buddies in the bungalow were just simply blown away. The tape did not last long before it was completely worn out from being played by so many, so often. After I bought the LP12 in 2023, this was my first LP, given to me by a friend so that I could at least hear what the turntable sounded like. It is a local pressing but it sounds good. I will probably get a better copy at some point but I have no need for the 45 rpm edition on two LPs. I really do not like the idea of 45 rpm albums spanning two records. It just breaks the continuity of the original. Many, if not most, albums were specifically recorded to end Side 1 on a high before diving into Side 2. The new way of spanning a standard album across four sides just breaks the cohesion and flow of the album as intended. Then again, this is just my opinion.

What's next for this album? Looking for a new reissue or a pre-owned title in VG+ and better condition. The hunt is on for a genuine OG – the 1985 (US Warner Brothers or UK Vertigo) first pressing mastered by Robert Ludwig at Masterdisk.
Dire Straits, Love Over Gold Dire Straits, Love Over Gold (Vertigo, EU). I have owned four copies spanning 40 years. Got a pre-owned OG in 2023 and promptly ruined it while attempting a clean. Had to fork out lots of money for a new one, a 180 gram remaster. It has not lost any of its appeal and Side 1 with Telegraph Road and Private Investigations certainly stands out. I play this when it is really quiet in the house and I can turn up the volume just a little bit more and enjoy a spectacular sonic presentation. This is by far the bands's best album.
Diva, Original Soundtrack Diva, Bande originale du film (Milan, France). This album has a long history for me. In the early eighties this was a cult film, shown only in selected theatres in Johannesburg. I purchased the cassette of the soundtrack in 1985. The music is quite haunting. In short, Jules (Andrei) is a postman who falls in love with Cynthia Hawkins (Fernandez), a famous opera singer whose voice has never been recorded. At one of her concerts, Jules records a bootleg copy that soon becomes the focus of a dangerous pursuit of said recording by Taiwanese bootleggers. Meanwhile, a prostitution ring is also being uncovered, and an completely different and incriminating recording falls into Jules' mailbag, complicating matters further.

Without having seen the film, much of the music score will not make any sense. For me it was worth the R100.00 that I paid for it at a secondhand record shop. The pressing is excellent and it just looks special. I am not going to play it every day, but I can occasionally enjoy this as an example of excellent avante garde music. It is typically Sunday morning music and part of a growing collection of classical music, of which I owned a lot in the past.
Don Randi and Quest, New Baby Don Randi and Quest, New Baby (Sheffield Lab, USA). OK, this was an impulsive buy, but for a mere R100.00 (6 USD) I could not let this Sheffield Lab title go by. The cover and inserts had water damage and I fixed this, but the vinyl is in a mint condition. Laid back funky jazz is what I can call it. Initially I thought I won't be playing it too often, but it has grown on me and shows the value of a good recording process.

The thing with these direct to disc recordings is that both the technical team and artist/band/group had only one go to make this work. Any mistake in the music, and the recording is stopped, the laquer scrapped, the lathe reset, and we start again, or the mistake remains forever etched into the master laquer. In addition, gaps between tracks meant artists had to either be dead quiet, vocalists catch their breath and then go on, or whatever noise they made, remains. An example is just before "Dusk" on the Lincoln Mayorga/Amanda McBroom album, where there is a definite shuffle, maybe a music stand or a chair moved slightly. This is what makes music authentic.

The only melody I knew from the start was Norwegian Wood, but the rest is quite catchy. The recording is excellent and really dynamic. Once again, these are albums that will never again be available, even as remasters, so when you find something like this, you take it.
Donald Fagen, The Nightfly Donald Fagen, The Nightfly (Warner Brothers, USA). A 1982 Warner pressing from the USA, this OG (with all the right credentials in the deadwax) copy sounds unbelievable for one that is already 43 years old. It is a great transition/continuation from Stely Dan and Gaucho, to Fagen's first solo effort. Mastered by Robert Ludwig, this was also one of the first pop albums to be digitally recorded. I have no problem with digital steps finding their way to vinyl. There is no way we can eliminate digital steps, and there is no need to. I have had three copies in total. One was a super expensive Japanese pressing, and this one, R200.00 (about 6 USD) at a vinyl fair, is way above the Japanese pressing in terms of presentation. It is certainly one of my most treasured LPs and a fitting transition from his Steely Dan career after Gaucho and the start of a solo journey.

Every track is excellent and it is difficult to single out any, but Ruby Baby just has so much punch, you want to turn up the volume even more. The New Frontier's theme is similar to that of a 1962 poem, Your Attention Please, by Peter Porter. Fagen lives the dream of a young man in the eastern United States, with visions of a great future, but with thoughts of the Russians pushing the button on the US. The Hunt for Red October, the 1991 movie, portrays this very well. Today, Fagen is much older and his last two albums have moved on from the youthful innocence of The Nightfly, to one of acceptance with the reality of old age, depicted on the cover of Morph the Cat.
Dvořák, Symphony No. 4, Bruno Walter Antonín Dvořák, Symphony No. 4 in D minor / Brahms: Academic Festival Overture (CBS, USA). Conducted by Bruno Walter with the Columbia Symphony Orchestra, this is a beautifully conceived recording from the early stereo era. Walter's approach to Dvořák is lyrical and unhurried, bringing out the warmth and Bohemian character of the symphony with great naturalness. The coupling with Brahms' celebratory Academic Festival Overture is well chosen. Walter was one of the great conductors of the 20th century, known for his expressive humanity and his deep connection to the Austro-German tradition. A CBS stereo pressing in a very attractive cover, this is a record that rewards patient listening.
Electric Light Orchestra Electric Light Orchestra, Discovery (CBS Mastersound, Jet, USA). This was one of the first Mastersound LPs I ever bought back in 1981 and to this day it is as good as it was then. I got my second copy the other day and the sleeve is really in a perfect condition, and includes the original inserts. On first look the vinyl appears to have a few scratches, but none of them are audible. Vinyl in the 70s and 80s was just much harder and better than the standard stuff we have today. A quick suck and scrub on my mate's VPI 16.5 wet/dry cleaner, and a cycle through the ultrasonic, and this LP is as good as new.

Discovery has quite a few highlights – Confusion, The Diary of Horace Wimp, Last Train to London, and Don't Bring Me Down bring back fond memories of my early eighties forage into vinyl. Listen for the door slamming outside the studio at the end of Side 2. Definitely worth the few hundred rand I spent on it. Do I chase down so-called "audiophile" vinyl? Not really. I have a few Sheffield Lab LPs, some older MFSL pressings (which all sound sublime), and a few Mastersound pressings. I buy because I like the music, irrespective of the specific pressing or label.
The Very Best of the Everly Brothers The Everly Brothers, The Very Best of (Warner Brothers, Germany). Bought this while waiting for some records to be professionally cleaned. Excellent Warner Brothers copy pressed in Germany. Classic stuff and contains all of their hits. Makes for really relaxed listening. I will definitely get the cover done by Norah Jones and Billy Joe, Foreverly.
Frank Sinatra, Come Swing with Me Frank Sinatra, Come Swing with Me (Capitol, UK). Never thought I would buy a Frank Sinatra album. Then I got this from a friend and I was just so impressed with the crooner's voice. There is a lot to like here and in time I will sit down for a more in-depth listening.
Friends of Carlotta Friends of Carlotta, Live in Studio (Clearaudio, Germany) is not only a D2D (Direct to Disc) recording but also uses DMM (Direct Metal Mastering) done by Gunther Pauler who is also responsible for the sublime sound quality of Stockfisch Records, together with Clearaudio. Originally issued by Bowers & Wilkins as a CD with a run of only 2000 copies released, the vinyl version was produced from the original master tape. This was a must-have when I saw it and it sounds phenomenal. There is virtually no surface noise, unless you crank up the volume way above what is necessary. There are only eight tracks, all covers of popular songs, and it is great for demonstrations. Clearaudio did a sterling job with this. Definitely recommended if you can get hold of it. Track listing:

  • How deep is your love (Gibb)
  • Hello (Richie)
  • Nothing ever happens (Currie)
  • Fever (Davenport/Coley)
  • In the air tonight (Collins)
  • Ain't no sunshine (Withers)
  • Walkin' in Memphis (Cohn)
  • Time after time (Lauper/Hyman)
This is a great example of how vinyl should sound.
George Benson, Breezin' George Benson's Breezin' (MFSL, Warner Brothers, Japan) is an MFSL title I picked up for a mere R70.00 and it sounds fantastic. Those first MFSL pressings were often excellent, and this is one of them. It is a gem. The sleeve needed a bit of TLC and the original inserts are long gone, but I had many of these in the past, so I know the technical details. This is music you can listen to and relax. It does not require one to be overly critical. Just put it on the turntable and enjoy it. Breezin' was nominated for a Grammy for Album of the Year but eventually won for Best Pop Instrumental Performance.

My musical tastes have changed somewhat over the years. I do not want to have to sit down and meticulously absorb every little detail a record offers. Sometimes, like with George Benson and Gino Vanelli, I just want something I can enjoy in the background.
George Benson In Your Eyes' George Benson In Your Eyes (Warner Brothers, Germany) is an excellent German Warner Brothers pressing. I have known these pressings to often be very clear, and sometimes a bit bright, but with low surface noise. Continuing in the typical Benson style, this is laid-back jazz, with some great guitar work although nothing on the scale of Breezin'. A most enjoyable album, there are some great tracks, including Inside Love (So Personal), Lady Love Me (One More Time), and the title track, In Your Eyes.
George Benson Collection' The George Benson Collection (Warner Brothers, South Africa, 2LP) is a double album containing Benson's hits. What I like about his music is that it is enjoyable as background music and does not require intense focus. This is a South African Warner Brothers pressing and sounds excellent. The LPs are quite heavy, coming in at close to 160 gram, and the gatefold jacket is nice and sturdy.
Gino Vinelli, Powerful People Gino Vanelli, Powerful People (MFSL, A&M, Japan). I had always known about Gino Vanelli and then one day I stumbled upon an absolutely mint copy of the Mobile Fidelity Sound Lab release. It was way too cheap not to take it. The cover needed some work, but the vinyl is perfect, almost unplayed. I like restoring covers that have seen better days, and after a bit of TLC, and a black and red permanent marker, it looks as good as it can get. This is the sort of music I am into lately – something calm and relaxing that I can enjoy without thinking. These MFSL pressings are now over forty years old and finding this one was just great. It is also quite a short album, some 31 minutes.

Technically the LP is virtually new. There is no surface noise between tracks and maybe this is because of the "super vinyl" that was used at the time when these pressings were almost translucent. Before I bought it, I read a review and someone mentioned the awesome dynamics. Well, that was no lie. This LP sounds just great and many more modern pressings I own do not sound nearly as good. It still has all of the original paperwork – the still folder to protect the record, the list of titles as of November 1980, and a certificate of authentication. This is definitely a prized addition to my collection.
The Greater Good The Greater Good (Stockfisch Records, Germany) is a collaboration of two of Stockfisch Records' artists Eugene Ruffolo and Dennis Colen, and Shane Alexander. Together they form a formidable team. This is a brand new 180 gram DMM, expertly mastered and pressed. Stockfisch's catalogue may not be to everyone's liking, but then it opens new horizons. I have the CD too and it sounds fantastic. Just listen to If its Feeling Fine on Side 2. Clearly all the links in the chain – recording, mastering, cutting, plating, and pressing – are of an extremely high quality.

The second to last track on the the album, If its Feeling Fine, is a great demonstration track, beautifully separating the instruments without ever losing cohesion. Again, Stockfisch focuses on great guitar work, which has always been central to their music.
Handel, Julius Caesar, Treigle, Sills, Rudel George Frideric Handel, Julius Caesar (RCA, USA). Conductor Julius Rudel leads the New York City Opera with a cast of Norman Treigle as Caesar, Beverly Sills as Cleopatra, and Maureen Forrester. This was a landmark production for the New York City Opera, and one of the recordings that brought Handel's baroque operas to a wider American audience in the early 1970s. Julius Caesar (Giulio Cesare in Egitto, 1724) is widely considered one of the finest operas of the baroque period, with an extraordinarily rich sequence of arias.

Norman Treigle's dark bass-baritone is perfectly suited to Caesar, and Beverly Sills as Cleopatra is simply magnificent – her singing of V'adoro, pupille alone is worth the price of admission. Maureen Forrester brings her characteristic warmth and depth to her role. Rudel's conducting keeps the drama alive throughout what is a lengthy work. An RCA pressing of this calibre is a genuinely important addition to any opera collection.
Handel, Messiah George Frideric Handel's Messiah (RCA, Canada, 3LP) is a beautiful box set of this classic work. Messiah is a famous choral work composed by George Frideric Handel in 1741, with words taken from the Bible. It was first performed in Dublin in 1742 and later in London. Although it started with modest success, it eventually became one of the most popular and frequently performed choral pieces in Western music.

The work is divided into three parts. The first covers Old Testament prophecies and the announcement of Jesus's birth. The second focuses on Jesus's suffering and death, ending with the famous Hallelujah chorus. The third part deals with resurrection and eternal life.

Handel originally wrote it for smaller musical groups, but after his death, it was often performed with massive orchestras and choirs of up to 800 people. More recently, performers have returned to staging it closer to Handel's original, simpler style.

This set is not going to win any prizes, but it is pressed and presented well, and sounds good. It was a gift from a friend. What I do not like is the way the sides are split over the three disks: Record 1, Side One and Six; Record 2. Side Two and Five; and Record 3, Side Three and Four. It's a pain changing and turning over disks so often.
Hi-Fi Stereo Festival '70 Hi-Fi Stereo Festival ’70 (Deutsche Grammophon, Germany). A showcase compilation featuring some of the finest conductors in the DG stable: Herbert von Karajan, Karl Böhm, Eugen Jochum, Karl Richter, and Otto Gerdes. The programme draws from some of the great operatic repertoire – Gluck's Orpheus, Mozart's Don Giovanni, Beethoven's Fidelio, Wagner's Tannhäuser, Das Rheingold, Die Walküre, and Tristan und Isolde. Compilations like this were common in the late sixties and early seventies, serving both as a showcase for the label's roster and as a gateway into the classical catalogue for new listeners. The combination of conductors assembled here represents a golden era of recorded classical music on the DG label.
Jackson Browne, The Pretender Jackson Browne was way more important in the seventies than many people realise, writing hits for many other artists. Some may know him for "Laywers in Love". For me, The Pretender (Asylum Records, USA) was the album I was always looking to purchase as a MFSL release of. The arrangements are absolutely top notch. The title song says it all. Browne describes it like this:

I'm gonna rent myself a house, In the shade of the freeway
Gonna pack my lunch in the morning, And go to work each day
And when the evening rolls around, I'll go on home and lay my body down
And when the morning light comes streaming in, I'll get up and do it again
Amen, Say it again, Amen

Isn't this how most of us live? We do the same things every day, just to survive. There's a cynical irony in this and I love it. I have a US Asylum pressing. The textured embossed sleeve has taken some battering but the vinyl is in great condition. My copy has "SP" etched in the deadwax and indicates it was pressed by Specialty Records Corporation. However, the second verse of the title song was removed. The time indicated on the label is 5:50 but it is actually about 5:05. Weird, but I can live with it.

What's next for this album? Looking for a new reissue or a MFSL in VG+ and better condition.
Jean-Michel Jarre' Jean-Michel Jarre (Polydor, Germany, 2LP) is an exponent in electronic music and The Concerts in China was my first introduction to this artist. Back in the early eighties we here in South Africa did not know much about China and for the most part China hid itself from the rest of the world. I have a German Polydor pressing which I picked up for next-to-nothing at a secondhand vinyl store. It sounds sublime and on first inspection it did not look like it had been played at all. This is a real gem and one I had wanted for a long time. I spent a bit of time removing some superficial blemishes on the cover, and a red permanent marker did the job just fine. You have to look really close to see that this is not a new purchase.

The opening sequence is just amazing. Recorded in Peking (Beijing today), Overture starts the album in a spectacular way. The crowd's applause is initially almost amusingly underwhelming, as one could expect from a society closed off from the rest of the world. What were they to make of these strange sounds? Once the music starts, the crowd warms up to the strange electronic sounds. Side 3 and 4 were recorded in Shangai, and while the music is well-known Jarre works, I really enjoy the background sounds and scenes from typical life in China. Excellent collaboration with local artists allows more traditional music to get an electronic spin, enjoyed by the audiences. All in all, this is a treasured part of my collection. I am now looking for a good OG or remaster of aother well-known oriental theme, Vangelis's China.
Jeff Wynne, The War of the Worlds Jeff Wayne, Jeff Wayne's Musical Version of The War of the Worlds (CBS Mastersound, USA, 2LP) was a great endeavour to make the classic HG Wells story come to life in music. I had the title many years ago and when one became available again, marked as NM, I took the chance. The CBS Mastersound pressing is in a great condition. The album features artists such as David Essex, Justin Hayward, Phil Lynott, Chris Thompson, and Julie Covington, with actor Richard Burton as the narrator, who is also the journalist in the story. Burton's voice is ideal as the story teller. [ See Deconstructing Jeff Wayne's Musical Version of The War of the Worlds [2005] for an excellent in-depth discussion on the project. ]

One perculiarity stands out – the way the sides are pressed. You have sides one and four on disk one, then sides two and three on disk two. Confusing, and a bit of a nuisance changing disks, but hey, this is another thing that makes collecting vinyl records interesting. Ulaa... Ulaa...

Why do I continue collecting these CBS Mastersound pressings? Simply because they were presented well, and sound good to this day. The Mastersound editions were not perfect, but getting anything better in the local pre-owned market is almost impossible. I made the mistake selling some of these titles before, and I am not going to repeat it.
Troubadour, JJ Cale JJ Cale, Troubadour (Mercury, EU). If ever there was a musician that deserved way more credit than he got, it must be JJ Cale. Many probably know him only for Cocaine or City Girls. In many cases Cale's music was made popular by Eric Clapton. This is my second JJ Cale album (I had Special Edition way back, and am struggling to find another copy) and I intend to buy more of them. His collaboration with Clapton on The Road to Escondido in 2006 showcases the musical brilliance of both.

This 180 gram EU/German pressing by Mercury Records is superb and it shows again that good vinyl as as important as a good turntable. A good turntable is hardly going to make up for a bad pressing. I am not saying we should all go out and buy the most expensive pressings, just that we should find out about a particular pressing before buying it. If your budget allows, get the pressing you can afford. Keep your fingers away from the surface of the record and it will serve you well for many years.
John Denver, An Evening With John Denver, An Evening with John Denver (RCA Victor, Germany, 2LP). This is probably my all-time favourite live recording. I remember listening to this when it came out in 1975, making this year a half century later. I really believe that Denver never received the recognition he deserved as a country artist. In the Ken Burns series on country music, Denver is hardly mentioned. This album is just a delight and it must have been awesome to attend the actual concerts. The man's musical talents were exceptional. In this recording he is backed up by a very capable orchestra, with Lee Holdridge at the helm.

All his early classics are there, and you are taken on a journey across Canada and the USA ‐ from Alberta in Canada, south to Montana, Colorado, California, back east to West Virginia, who can forget his love for nature? That the man had severe personal issues is clear, but then who does not? Denver's voice is a high tenor and his unique style makes it difficult to copy his songs. He never really co-sang with others, one exception being Placido Domingo. As I write this, I am listening to Whiskey Basin Blues (not on the Evening With John Denver album) and I am reminded why he was an extremly gifted singer. I was lucky to find a RCA German pressing (1982) and for a 43-year old double album, it still sounds extremely good. The cover is now in a stellar condition but some TLC was required. I often touch up covers that have taken some punding, using permanent markers – black, brown, and red are often used with record covers.
Katrina and the Waves Katrina and the Waves, Katrina and the Waves (Capitol, RSA). My son bought this album sealed at a record fair in 2025. It took me back some 40 years when the album was released and I heard it from a buddy on the army base I was stationed. The very first track's introduction hits hard and while this is not what I regularly listen to, it's just fun. We do not always have to be stuck down in an "audiophile chair" listening to deep stuff no one else bothers to listen to.

This group was no fluke either. Eurovision winners in 1987, for their 1985 Capitol debut, the band reworked 10 tracks from earlier Canadian releases into their self-titled international album. It proved both a critical and commercial success, with "Walking on Sunshine" becoming a worldwide hit (reaching No. 9 in the US and No. 8 in the UK). This completely re-recorded version differed significantly from the original 1983 Canadian release. Look in the sleeve's text and you will see the mastering was done by Robert Ludwig. It speaks volumes of the quality of the recording. The success brought a Grammy nomination for Best New Artist and extensive touring, which helped sustain sales. Another single, "Do You Want Crying," also cracked the US top 40 that summer.

My original copy was pressed in Germany and I remember that it sounded absolutely stellar. My current copy, pressed locally, sounds perfectly fine. Not all locally pressed vinyl of the 80s was necessarily bad, and I had some imported stuff that sounded rather mediocre.
Leonard Cohen, Songs from a Room Leonard Cohen, Songs from a Room (CBS, USA). Beaten, and probably one of the oldest records I own. I had it cleaned with an ultrasonic machine, but years of wear on the record have left their mark.

What's next for this album? Looking for a new reissue or a pre-owned title in VG+ and better condition. Failing this, the current album is on the replace list.
Leonard Cohen, Various Positions Leonard Cohen, Various Positions (CBS, UK). Classic Cohen. I still think some artists did a better job than the original (Mathys Roets' covers in English, and Koos Van Der Merwe's Afrikaans translation are excellent examples), but it takes nothing away from the magic of a gifted singer-writer. I got this from a friend, a UK CBS pressing, in great condition. It can do with a scrub and suck or ultrasonic clean, but it is not urgent.

There are some well-known songs and The Law, Night Comes On, and Hallelujah stand out.
Lincoln Mayorga and Amanda McBroom Lincoln Mayorga and Amanda McBroom, Growing Up in Hollywood Town (Sheffield Lab, USA) is a Sheffield Lab Direct to Disc recording from 1980 and a true "audiophile" record, as much as I hate the term. Got this one as a box edition with all of its liner notes for R120.00 from the secondhand store that has since moved out of my area. Those Sheffield Lab pressings were ultra thin with not much music on each side, but this is what makes it sound so good. I also have Thelma Houston, I've got the music in me, the original take, and not the Treasury Series that came out later, as well as Michael Newman's Italian Pleasures.

There are many highlights on this recording. The Rose is a standout, and Mayorga's dynamic piano and low bass make it feel they are recording the music right here in your room. In order to give vocalists a chance to catch their breath between songs, each vocal is separated by an instrumental before the next song starts. What I like about these recordings is that anything that happens in the studio is recorded – feet tapping, sheet music turned over, chairs moving. This just makes it so real. Ending Side 1, Dusk is a stunner and you can hear movement in the studio, probably a slight move of a chair. Side 2 starts with the title song, Growing Up in Hollywood Town. I like the catch phrase "Don't call us, we'll call you". It still works like that today. The album's focal point must surely be the last vocal, Amanda. In our time of recording music using digital technology, and worse, AI, it is good to know that we have a lifeline in these older, and superbly recorded, records.
Little River Band, First Under the Wire, MFSL Little River Band, First Under the Wire (MFSL, Capitol, Japan). Released in 1979, First Under the Wire is widely regarded as one of the finest albums the Australian group ever recorded, and arguably their commercial peak. It delivered two enormous international hits – the reflective and beautifully understated Cool Change, and the irresistible Lonesome Loser – alongside a set of polished, melodically rich tracks that hold up remarkably well after all these years. The vocal harmonies, always the band's calling card, are on full display throughout.

This copy is the 1980 Mobile Fidelity Sound Lab half-speed mastered reissue, pressed in Japan. MFSL's half-speed mastering process runs the cutting lathe at exactly half the normal speed, allowing the cutting head more time to track the groove modulations with greater precision and extract more detail from the original master tape. The Japanese pressing itself is immaculate – the vinyl is dead quiet, the surface utterly free of noise, and the weight and feel of the disc are exactly what you would hope for from a pressing of this pedigree. It is in an absolutely mint condition, both the cover and the vinyl, and sounds every bit as good as it looks.

If you have ever dismissed the Little River Band as easy listening, put this on and listen to the opening of Cool Change with a decent stylus and a quiet room. You may well change your mind.
Manhattan Transfer, Live Manhattan Transfer, Live (MFSL, Atlantic, Japan). What a great find, and one that I took without thinking twice. Had the title many years ago. Some rhythm and blues, swing, jazz, and a brass band for a great live performance recorded in 1978 three different locations, this is really easy listening. There is plenty to get excited about. Java Jive, Chanson d'Amour and Cuentame are well-known melodies.

With these old MFSL records we know that it was all analogue. I have nothing against digital processing though. Music is music and we should enjoy it for what it is, not the format it is presented in. The thing is just that with every passing year these pressings become older, the master tapes deteriorate, and so the first pressings will probably be the best versions of these recordings. If you can lay our hands on these older pressings, grab them. I have been lucky to find two excellent sounding MFSL LPs in a short space of time.
Michael Card, Present Reality Michael Card, Present Reality (Sparrow Records, USA). Got this at a vinyl fair and it shows that Christian/Gospel music can be well-recorded and pressed equally well. It just sounds phenomenal, putting many of my "high quality" stuff to shame. It has become my go-to demo LP for visitors. Just listen to the incredible but controlled bass on "That's What Faith Must Be" on Side 1. It is pressed on thin 120 gram vinyl but man, this just sounds super. It cost me only R70.00. The album ends with "Flesh of His Flesh", reminding us about the closeness of our relationship with Jesus Christ. [ See John Chapter Three. ]

I would be great to find some of Card's other albums on vinyl. The Ancient Faith Trilogy comes to mind, but it would have been very expensive to produce, requiring four sides or more, and replicating the artwork as found on the box set CD which I have, would have been some undertaking.
Michael Card, Scandalon Michael Card, Scandalon (Sparrow Records, USA). I bought this along with Present Reality and it sounds equally good, with the same dynamics. Awesome stuff. Christian music deserves to be available on as many formats as possible, spreading the good news of salvation to as many people as possible. [ See John Chapter Three. ]
Classical Guitarist, Michael Newman Michael Newman, Classical Guitarist (Sheffield Lab, Germany). Sheffield Lab's direct to disc recordings have always been stellar and this box set is a must-have for those who like classical guitar. I also have Dave Grusin's Discovered Again, Don Randi and Quest's New Baby, Thelma Houston's I've got the music in me, and Lincoln Mayorga's collaboration with Amanda McBroom, Growing up in Hollywood Town. This is how music should sound. Newman is a fantastic guitarist and this album highlights his incredible versatility. My copy definitely needs a clean. While the vinyl is generally quiet, as all Sheffield Lab pressings are, there are a few annoying pops all over the record. I had to do some repairs on the box as it seems to have suffered some water damage before I owned it. This is just the nature of collecting pre-owned vinyl. While I am careful what I purchase, sometimes an old, out-of-print title comes along that I just must have.
Italian Pleasures, Michael Newman Michael Newman, Italian Pleasures (Sheffield Lab, USA). An absolute classic D2D (Direct to Disc) recording by Sheffield Lab. I bought this pre-owned online without seeing or hearing it first, but I trusted the seller. Sheffield Lab's direct to disc recordings have always been stellar. I also have Thelma Houston's I've got the music in me and Lincoln Mayorga's collaboration with Amanda McBroom, Growing up in Hollywood Town. This is how music should sound. Newman is a fantastic guitarist and this album brings to life an older style of music not too many of us would be familiar with. Now the hunt is on for the remaining Sheffield Lab recording Newman did, Guitar Pleasures.
Mozart, Don Giovanni, Bonynge Wolfgang Amadeus Mozart, Don Giovanni (Decca, UK, 4LP). One of the greatest operas ever written, Don Giovanni features a cast of giants: Joan Sutherland, Gabriel Bacquier, Pilar Lorengar, Marilyn Horne, Donald Gramm, and Werner Krenn, with the English Chamber Orchestra conducted by Richard Bonynge. Sutherland's involvement alone makes this a recording of distinction. Don Giovanni is a complex character, a libertine whose downfall is inevitable yet dramatically compelling. The overture alone sets the tone for what is to follow. A Decca production of this calibre is a real find.

My copy is absolutely pristine. According to a date written inside the box, it was purchased on 10 September 1975. I don't think it would have been played too much, or the owner had a stellar turntable that ensured very little wear on the playing surfaces. Evidently this was the case as the other albums I received from this estate are in a similar condition.
Mozart, Klavierkonzerte, Géza Anda Wolfgang Amadeus Mozart, Klavierkonzerte – Piano Concertos KV 415 (in C major) and KV 459 (in F major) (Deutsche Grammophon, Germany). Géza Anda was one of the great Mozart interpreters of his generation, and his series of recordings for Deutsche Grammophon with the Camerata Academica des Salzburger Mozarteums – serving as both soloist and conductor – is among the most admired in the catalogue. Both concertos here are from Mozart's mature period and display his mastery of form, melody, and the subtle dialogue between soloist and orchestra. Anda's playing is elegant and musical, never over-mannered. The Deutsche Grammophon pressing is excellent, and the characteristically elegant yellow label is always a mark of care and quality. A welcome addition to my growing collection of classical music.
Feels Like Home, Norah Jones Norah Jones, Feels Like Home (Blue Note, EU), A great record, one I had as a 200 gram Classic Records pressing back in the day. Bought this 180 gram pressing from Echos Record Bar. For me the first two albums were outstanding, and I really must buy Come Away With Me again. Her later work deviated somewhat from the innocence of the first two albums. There's not much to say about this album that has not already been said. Just get yourself a copy.
Oscar Peterson Trio, Nigerian Marketplace Oscar Peterson Trio, Nigerian Marketplace (Pablo Records, South Africa), a sealed album I was given by someone. I knew nothing about the artist yet but was willing to learn and broaden my horizons. On the first listen (Horror of horrors – listening on Apple Music via headphones instead of on the LP12) all I can say is, Wow! This is amazing music. The piano work done during this live recording is absolutely stellar. This is how jazz is supposed to sound, live and intimate. It reminds me somehow of Friday Night in San Francisco, with blistering pace while really just having fun enjoying the audience's participation. Nigerian Marketplace and Au Privave are fast and furious. Misty/Waltz for Debby slows down the pace considerably but the piano work is still on another level. Do not forget the drumming by Terry Clark, and Niels Henning Orsted-Pedersen's bass, vital for a good live performance. After a brief pause, Nancy picks up the pace again. Cakewalk follows and You Look Good to Me rounds off a great show. My copy was pressed in South Africa but it sounds good.
Paul O'Brien, Long May You Sing Paul O'Brien, Long May You Sing (Stockfisch Records, Germany). Paul O'Brien has done three albums for the Stockfisch label, Walk Back Home (CD/SACD); a 45 rpm high resolution vinyl version with four or five songs that has been out of print for a long time; and Long May You Sing (CD/SACD and 180 gram DMM vinyl). A great list of songs by Canadian artists, O'Brien does not falter in his rendition of any of them. While it would not be possible to fit all the songs on the CD/SACD version on a single 33 rpm vinyl pressing, the most important ones are there.

O'Brien is a great story teller. Just listen to Cold Missouri Waters, a tribute to an actual event of fire fighters dying trying to put out forest fires. I have also never appreciated Joni Mitchell's Big Yellow Taxi more than with the way O'Brien sings it. Sonny's Dream is a powerful way to end the album. This is a phenomenal collection of music, the pressing is top notch and super quiet, and it is completely out of print, but you may still find copies at Acoustic Sounds. You may have to fork out a lot of money for it but it is worth every cent.
Remembering Patsy Cline and Jim Reeves Patsy Cline and Jim Reeves, Remembering Patsy Cline and Jim Reeves (MCA, South Africa). The voices alone are worth the combination. Patsy Cline was one of the sensations of the late-50s and early-60s, with Jim Reeves being a well-respected singer in the same period. It is ironic that both died in aeroplane accidents that cut short great careers. Well-known songs of both are contained in a sort of a greatest hits compilation. While the cover does not elaborate on the compilation, we find an interesting footnote – the involvement of Chet Atkins in the production of some of the songs.

This is not an audiophile-type record that demands critical listening and it will not win any prizes. It serves as an enjoyable and quiet experience, probably on a Sunday morning. Listen to the emotional quality of Fall to Pieces (Cline) and Distant Drums (Reeves) and you have a summary of the work of two exceptional artists.
Paul Simon, Still Crazy After All Thse Years Paul Simon, Still Crazy After All These Years (CBS Mastersound, USA). Apart from The Concert in Central Park and Bridge Over Troubled Water, I have never had anything of Paul Simon. I found this CBS Half-speed Master for a bargain and could not let it pass by. The music is excellent and laid back – the type of music I lately enjoy. Simon was a stellar writer and his melodies are often simplistic but very successful. The LP is about 43 years old but still in an excellent condition. A cycle through the cleaning machine and it is as good as new.
Pink Floyd, Dark Side of the Moon Pink Floyd, Dark Side of the Moon (Harvest, UK). I bought this sealed in 2024, a 2003 30th Anniversary remaster, probably the best sounding version of the title ever on vinyl. It was expensive but it is worth every cent. It is one of those seminal albums that just goes beyond anything else. I enjoy the quality of the sleeve and accompanying artwork. Taking out the posters when I received it took me back to 1981 when a friend and I begged and then borrowed money from his mother to purchase "our" copy of Dark Side of the Moon on MFSL's original master recording series. It cost us R56.00 back then when standard imported LPs cost about R16.00 but translated to today it would be about R1545.00, an absolute fortune. I inherited it from him later. This is a sort of album where you cannot really isolate one song and call it a single. The entire album functions as a unit. I just love the end of Money and how it transitions into Us and Them, two songs with very different keys but the same time signatures.

I have a thing for vinyl records with black covers. Over the years I have owned a few, DSOTM being one, and then others such as The Police's Ghost in the Machine, Sara K's Water Falls, Friends of Carlotta's Live in Studio and Michael Newman's Italian Pleasures. The 2016 version has a completely matt finish that looks so nice but will be a fingerprint nightmare. The DSOTM cover is about as recognisable as the corporate logos of Apple, Nike, and the like. I have an audiophile dog, and he pays attention when this album plays. I renamed it to Dog Side of the Moon.
Pink Floyd, The Wall Pink Floyd, The Wall (CBS, USA, 2LP). This is a 1979/80 original CBS USA first/second issue according to the matrix numbers in the deadwaxm mastered by Doug Sax at The Mastering Lab (TML-M stamped in the deadwax). It is absolutely mint and when I got it pre-owned in 2024, the clingwrap had never been taken off. I was the first one to open the gatefold since its purchase about 46 years ago. It is a standard pressing and it sounds sublime. There is the odd pop and click, and a small scratch, but these are masked by the amazing dynamics this LP has. I played it for visiting friends who had never heard vinyl before, and they were absolutely stunned. I am not sure if there are other versions that will sound better, but this one is just superb. My copy does not have the title printed on the cover but is on a sticker on the plastic wrapping.

For me, Side 3 is easily the best part of the album, especially with Hey You and Comfortably Numb. Maybe it is because I do not like Roger Waters, but he really overcooks things sometimes with the constant references to his father, a WW2 pilot. Aeroplanes and crashes are a recurring theme, from Dark Side of the Moon to The Wall, and then The Final Cut. I really find his socialist public statements annoying. He screams and whinges. Gilmour though, sings; a class act.

Maybe the time will come that I will purchase a new copy, simply to not hear the scratch that lasts for about three or four rotations. A scratch will always appear on the quietest sections of a record. Yet another law of Murphy.
Wish You Were Here, Pink Floyd Pink Floyd, Wish You Were Here (CBS, USA). I own three copies. The first is a 1975 CBS USA OG, still in shrink wrap and with a promo sticker. I also had a Columbia Halfspeed Master back in the eighties and I hunted down one again, shown below. The older copy has seen better days and despite a good clean on a VPI 16.5 as well as a Degritter, there is still a lot of surface noise but the music still sounds surprisingly good. I am keeping it simply for nostalgia's sake. Note the slight difference between the cover photos of the American releases compared to the European releases.

Whichever pressing you listen to, prepare yourself for an extraordinary experience. What I like is that the album starts and ends with Richard Wright's playing. The album starts slowly with Shine on You Crazy Diamond, Parts 1 to 5, and builds to a climax, with Wish You Were Here on Side Two. It then winds down with the rest of Shine on You Crazy Diamond, Parts 6 to 9. The final few minutes are just exquisite. You are left with a sense of deep sadness, as experienced by the four contributing members, that Syd Barrett was no longer there. This was the best possible farewell.

I do not keep record of which albums I play each week, but Wish You Were Here is definitely on the turntable at least twice. I also rotate between the three copies, despite the US pressing's surface noise.
Wish You Were Here, Pink Floyd Pink Floyd, Wish You Were Here (Harvest, EU/UK). The second copy I own is a 2011 remaster, done by Doug Sax, James Guthrie, and Joel Plante, and pressed in the UK. It comes with the original posters and more, and in the original black outer sleeve with promo stickers on the front and back. It sounds sublime but beware: if you buy the 2011 edition new, the LP is in a very tight and thick paper inner. I struggled to get mine out and in the process it was scratched, although this could also have happened when it was packaged in the factory. This is an example of an album that really should be in a gatefold cover, like Dark Side of the Moon, one sleeve for the record and the other for the artwork. We as consumers should put much more pressure on record companies to actually listen to what we as buyers of their products want. I vote that ALL single albums be presented in a gatefold cover!

The quality of the pressing is unparalled. All UK/EU Harvest covers show the photo with the burning man leaning forward, whereas the American CBS cover artwork shows him standing upright. Some say the photographer was quick to snap another photo when he saw the man leaning forward, which is partially true. Compare the three photos here. Two of them (US vs UK/EU) were taken at different angles and one further away from the handshaking men. Note the parts of the buildings hidden, the buildings right at the back, the shadow close to the grid in the middle of the photo, as well as the flames on the man's back. The US version has two shots, taken in quick succession.
Wish You Were Here, Pink Floyd Pink Floyd, Wish You Were Here (CBS Mastersound, USA). My third copy is a 1982 re-release of the original half-speed master done in 1980. There was an issue with the equalisation of the original's mastering (HC 33453) which was corrected with a later release, HC 43453. This is probably the definitive copy to have and one of the best CBS Mastersound releases. It cost an absolute fortune but is in NM condition. The sleeve also has the correct numbering on the spine and not the plastic sticker that was stuck over the orginal number. Thus you know you have the correct version even before checking the label and the deadwax.

I love the way the album winds down towards the end, on Shine On You Crazy Diamond (Parts VI–IX). Richard Wright's organ work here is what anchors most of the album. It sounds like the pace is slowing down, but at the same time, the timing does not. From the first note to the last, this is a testiment of the genius of Wright. It is definitely very close to The Dark Side of the Moon but probably my favourite Pink Floyd album.

OK, so why three copies of the same title? It's probably coincidence, but there are some pressings that will never be available again, like the Mastersound. As I said elsewhere, back in the day we did not realise how special the 70s and 80s pressings actually were, and most are collectors items today, if you can find them.
Mind Over Matter, The Images of Pink Floyd Storm Thorgerson, Mind Over Matter, The Images of Pink Floyd (Book, USA). This is a visually stunning retrospective created by renowned graphic designer Storm Thorgerson, the creative force behind some of rock music's most iconic imagery. The book spans Pink Floyd's entire history, from 1968's A Saucerful of Secrets onwards, featuring over 100 artworks alongside commentary on method, technique, meaning, and the tension between art and commerce. It showcases nearly all of the band's iconic album covers, posters, singles bags, band photos, booklet pages, and rough artwork that evolved into legendary designs. Thorgerson weaves personal memoirs of his time with the band throughout, offering insight into the stories behind the visuals, including the flying pig and the celebrated Dark Side of the Moon prism.

I bought this book for my son while I was still working overseas. It is also the only music-oriented book I own but it is a must-have as part of the record collection.
Puccini, La Bohème, Solti Giacomo Puccini, La Bohème – Highlights (Grosser Opernquerschnitt) (RCA Victor, Germany). La Bohème is among the most beloved of all operas, and this RCA Victor highlights recording features a cast of exceptional distinction: Montserrat Caballé and Plácido Domingo in the lead roles, with Sherrill Milnes, Judith Blegen, and other fine singers. The London Philharmonic Orchestra and the John Alldis Choir are conducted by Sir Georg Solti, whose authoritative approach brings both drama and tenderness to Puccini's score. While a highlights disc inevitably omits much of what makes the opera great as a complete work, the selection here is generous and well chosen. For those new to the opera, it is an excellent introduction. The RCA pressing is in fine condition and sounds warm and detailed.
Roger Whittaker, Live with Saffron Roger Whittaker, Live with Saffron (EMI, South Africa, 2LP), was a record my parents played often. To this day for me it is one of the outstanding live recordings with lots of interaction with the crowd. A double LP, I would love to get a new copy if any were available. This is lively and enjoyable recording with lots of audience interaction. It is not meant to be listened to in silence and it is not an "audiophile" type album. Just listen to an artist with an exceptional voice, the ability to whistle, and to let the audience make fools of themselves trying the same.

What's next for this album? Looking for a new reissue or a pre-owned title in VG+ and better condition.
Roger Whittaker Collection Roger Whittaker, Collection (Readers Digest, South Africa, 5LP). A five-disc Readers Digest set, covering most of his work. I am not going to play this every day, but it is a welcome addition which was given to me by someone who needed the space in his collection. Most of the records have never been played. This is just laid-back music and I fondly remember how often my parents played this type of music.
Rossini, William Tell, Gardelli Gioachino Rossini, William Tell (EMI, UK). Most will only know the famous overture, thanks to its use in The Lone Ranger. But William Tell is a full four-act grand opera of considerable scale and ambition. This EMI set is the first complete recording of the original version in French, a significant achievement. The cast is formidable: Gabriel Bacquier, Montserrat Caballé, Nicolai Gedda, Kolos Kovacs, Mady Mesplé, Gwynne Howell, Jocelyne Taillon, and Nicolas Christou, with the Ambrosian Opera Chorus and Royal Philharmonic Orchestra conducted by Lamberto Gardelli. A landmark recording.
Santana, Zebop! Santana, Zebop! (CBS Mastersound, USA). This album takes me back to the early 80s when I had the same CBS Mastersound release. This is a fantastic album, but maybe not quite what many Santana supporters were used to when it was released. It includes great renditions of Cat Stevens' "Changes" and JJ Cale's "Sensitive Kind". It is probably for these two cuts that I bought the album, but the rest of it is not half bad. Listening to the album again after many years not hearing it, I can add this to my list of excellent titles of the seventies and eighties. They just do not make music like this anymore. The recording itself is great and the pressing excellent. In fact, I have never had a bad Mastersound title. CBS's efforts may not have been as successful as that of MFSL, Nautilus, and others, but it offered good releases at realistic prices. This is a great asset to my collection and I grabbed a pre-owned copy as soon as I found it.
Sara K, Water Falls Sara K, Water Falls (Stockfisch Records, Germany, 2LP). Someone lent me a copy of this album in 2005 and the rest was history. This is easily the best ever example of direct metal mastering (DMM) as done by Stockfisch Records in Germany. It was out of print for a few years but was recently made available again. Spread over four sides, Sara K's weird style guitar playing, together with the awesome guitar skills of Chris Jones, make this a must-have. Of course, spanning a standard length LP over four sides means I have to get up every few minutes to flip over a disk or change it. I sometimes forget I am not listening to the CD where I can listen to the entire album in one take. By the way, Stockfisch's ability to produce high quality CD/SACD recordings is absolutely above anything I have heard before. That their catalogue of artists is not commonly known puts off some, when it shouldn't. It is a good way to expand your horizons. If there is one wish I have, it is that Stockfisch Records will release Sarak K's later album, Hell or High Water, on vinyl as well. I have both CD/SACD and XRCD and the recording is truly phenomenal. It will do the vinyl format proud.

Water Falls probably represents the best of what the Stockfisch catalogue can offer. The bass is unbelievable without ever becoming muddy and the entire presentation is first class.
Simon and Garfunkel: The Concert in Central Park Simon and Garfunkel, The Concert in Central Park (Geffen, UK, 2LP). I remember when this double album was released in 1982 and the impact it had. This was a live show unlike any other I had heard before, except maybe An Evening with John Denver. A get-together by an incredible duo that also had a painful working relationship, The Concert in Central Park delivers. It is extremely well engineered and an excellent "greatest hits" for these two artists. I have seen the video version of the show and hearing it now without the video does not in any way detract from what is a most enjoyable album. Mine is a 1982 Geffen UK import, in excellent condition. The black cover had to be restored and given some TLC but there is nothing a black marker pen and a bit of patience cannot do to bring it back to life again.
Sky 2 Sky, 2 (Ariola, Germany, 2LP). A great record of classical music by the progerrive rock group Sky, with a modern spin, at least when it was released. Sky is a British-Australian instrumental rock band from London, formed in 1978 by John Williams and Herbie Flowers. Sky 2 was a hit in the UK, reaching number one, unusual for a double album. This is just nice music to relax to. As an ex-drummer in a military style, I appreciate the offbeat and alternating beats used on Fifo, the first track on Side 2.

It cost me only R90.00, an Ariola pressing from Germany. I have a thing for German pressings. Some say vinyl records pressed in Germany lack bass, the same with Japanese pressings. What I appreciate about the likes of EMI Electrola, RCA Victor, Warner Brothers and others is how quiet the surfaces are. I have a fairly old copy of George Benson's In Your Eyes, and it sounds fantastic despite taking a pounding in the hands of the previous owners. My copy of Sky 2 is visually in NM condition.
Louis Spohr, Violin Concerto Nr. 8, Pierre Amoyal, Lausanne Chamber Orchestra, Armin Jordan Louis Spohr, Violin Concerto Nr. 8 in A minor, Op. 47 (Erato, France). Louis Spohr (1784–1859) was one of the most celebrated violinists and composers of his era, and the Eighth Violin Concerto, subtitled In modo d'una scena cantante — in the manner of a vocal scene — is arguably his finest. Written in 1816, it draws on the expressive idiom of Italian opera, the solo violin taking the role of a dramatic soprano voice, moving through recitative, aria, and cabaletta-like passages. It is an extraordinary piece and far too rarely heard today.

Pierre Amoyal, the French violinist and student of Jascha Heifetz, brings elegance and a singing tone to the solo part that is entirely in keeping with Spohr's intentions. Armin Jordan, the distinguished Swiss conductor, leads the Lausanne Chamber Orchestra with characteristic sensitivity and poise. The Erato pressing, made in France, is clean and well-balanced, doing full justice to the delicacy and drama of the work. An excellent addition to the collection and a fine introduction to a composer unjustly overshadowed by his contemporaries.
Gaucho, Steely Dan Steely Dan's Gaucho (Geffen, USA) has been a favourite of mine for some 43 years. I recently found this 180 gram gem, remastered by Bernie Grundman. Not a pop or tick is to be heard, and the presentation is simple but effective. Done by Geffen/UME in 2023, it ranks up there with the best in sound quality in my collection. Sure, the Analogue Productions 45 rpm may possibly sound better, but it is inconvenient to have only one song on some of the sides. It also removes the whole idea of "LP" – long play. Gaucho is already a short album at only some 37 minutes, probably because of the absence of "The Second Arrangement". With this song included, had it not been erased, the album would have reached about 45 minutes.

A deviation from Aja, it took a long time, and a lot of money for the time, to produce. Fagen and Becker were simply pushing for the best possible production, and they delivered. Both the original MCA (some surface noise) and later Geffen (dead silent surfaces) pressings are absolutely sublime and easily rank close to the top of the list of my collection. I only wish we could change the album's format to include "The Second Arrangement", the "lost" track which was meant for Gaucho, and accidentally deleted. Some cassette copies of the track exist, but never had Fagen and Becker's approval, and never made it to the final album. Good as this verion of Gaucho is, it is still not my "go-to" copy. Instead, this honour goes to the one below.
Gaucho, Steely Dan Steely Dan's Gaucho (MCA, USA) was released in 1980. I remember getting a gift voucher from my friends for Hillbrow Record Bar, for my 21st birthday. I could not wait for the party to be over so that I could redeem the voucher for my copy of Gaucho.

Like my copy back then, the one I have now is an original MCA pressing from 1980, with the "right credentials" in the deadwax – MASTERDISK stamped, RL (originally mastered by Robert Ludwig) etched, and EDP (Europa Disk Plating) stamped in the deadwax. Why are we hunting down these original OGs today? Simply because the mastering was absolutely epic. Sure, a newer version may sound cleaner and the originals are known to be a bit noisy, but the quality of the music is stellar. Incidentally, a very knowledgeable YouTuber rates the original MCA pressing a 9.2/10 whereas the 2023 Geffen pressing gets a 8.2/10. Read an article I wrote about OG titles for Gaucho and The Nightfly as a content writer for AV News, South Africa.

Gaucho contains only seven tracks, and I really cannot single out any one of them as the best. Reading the sheet lyrics, I do not always understand all of the references, but then I don't think we were meant to. Let's leave some of it just there on the album while we enjoy this sonic spectacle. This is one example of the exceptional care that was taken to produce albums in the 70s and 80s. No wonder youngsters are discovering and appreciating the music enjoyed by their parents.
Stevie Wonder, Original Musiquarium 1 Stevie Wonder, Original Musiquarium 1 (Motown Records, South Africa, 2LP). Easily the best first 20 minutes of funk/soul ever. Side 1 is a treat, explaining life as a black man in the USA, and serving in Vietnam. Thought provoking – "Now I'm standing at the back of the line when it comes to getting ahead." America never learnt anything from Korea or Vietnam. Even today, those who went to the Gulf Wars have all been but forgotten. I love all four sides of this incredible album.

I definitely want to purchase a better pressing. However, on closer inspection, the following appears in the deadwax: TMD-11708 D PRECISION LAQUER D.L. STEVIE WONDER D-1. Now this is unusual for a South African pressing. An online search came up with the following:

Precision Lacquer D.L. in the runout (deadwax) of an "Original Musiquarium I" record indicates it was likely cut by mastering engineer Darrell Johnson at the Los Angeles studio Precision Lacquer. This specific deadwax inscription is commonly found on early US pressings or international pressings that utilised lacquers prepared by this studio, including some variations linked to a Japanese pressing.

I need to investigate this in more detail.
Igor Stravinsky, The Firebird Igor Stravinsky, The Firebird (CBS Mastersound, USA). A great recording of this classic piece. Years ago I used to own many titles in the Columbia/CBS/Epic Mastersound series. Back in the day they were simply miles better than the standard pressings. Today many, rather snobbish, "audiophiles" will scream that the recordings were heavily EQed and sounded terrible. True, but not everyone can afford the latest and greatest 45 rpm pressings (which I loathe, not for sound quality but for the inconvenience of having to get up every five minutes) that are available lately. These old CBS pressings are collectors items and many still sound surprisingly good. Take Pink Floyd's Wish You Were Here as an example. The second version of the Mastersound pressing is said to be the best version available, despite many later releases and commands a massive price tag, if you can find it. Kudos for CBS for trying to compete with MFSL in the early eighties. Maybe the did not quite achieve MFSL's standards, but what they had was way less expensive than the MFSL titles.

My copy of The Firebird has a pressing flaw on Side 1 at the start, for about two minutes. Thereafter it is fine and I can live with it. Stravinsky's work is majestic and you may even recognise part of it, even if you have never listened to the entire piece.
Supertramp, Even in the Quietest Moments Supertramp, Even in the Quietest Moments (A&M, Japan). This is an interesting release. Pressed in Japan but sleeved in Canada, this is part of A&M's Audiophile Series and is a half-speed master. This is one good-sounding record, and despite its age, its performance is excellent. Discogs explains the process used as follows:

A&M Audiophile Series. The Canadian series was introduced in 1978. These were half-speed masters pressed on JVC Super Vinyl in Japan (also used by MFSL for their Original Master Recording series in the 70s and 80s), which were imported and then packaged in Canada. The Audiophile process produces a superb master from which this record is manufactured on the purest possible anti-static vinyl. The cutting of the master from the original stereo tapes is performed at half the normal speed, the velocity of the cutting stylus being dramatically reduced results in a more faithful cutting of heavily modulated passages and the general extension of the frequency range.

A&M Records' Audiophile Series provides extremely high fidelity sound reproduction, remarkably clear and distinct, virtually free of surface and background noise. [ Reference ]

Just another example of excellent recordings from the 70s, done by one of the best bands of the time. Again, they don't make them like this anymore.
Tchaikovsky, Sleeping Beauty, John Lanchbery, Philharmonic Orchestra, EMI Pyotr Ilyich Tchaikovsky, The Sleeping Beauty (EMI, Germany, 3LP). Conducted by John Lanchbery with the Philharmonic Orchestra. The first of two Tchaikovsky ballet recordings in this exceptional EMI series that I own, and a worthy showcase for one of the most melodically generous scores in all of classical music. Composed in 1888–89 and premiered by the Imperial Ballet in St. Petersburg in January 1890, Sleeping Beauty was a triumph from the outset. The famous Rose Adagio, the lilting Waltz, and the radiant finale are all here in splendid form. Lanchbery was among the foremost ballet conductors of his generation, with an innate feel for phrasing and dramatic pacing that few could match. The Philharmonic Orchestra responds with playing of real colour and commitment. This is a digital recording, but do not let that put you off — it sounds absolutely fantastic, with a warmth and presence that belies its origins.

Note: these are box sets with a glossy red and silver finish that makes proper scanning impossible. The image shown here is not of the box itself, but scanned from the liner notes inside.
Tchaikovsky, Swan Lake, John Lanchbery, Philharmonic Orchestra, EMI Pyotr Ilyich Tchaikovsky, Swan Lake (EMI, Germany, 3LP). The second in the Lanchbery/Philharmonic Orchestra Tchaikovsky ballet series on EMI, and arguably the most celebrated ballet score ever written. Composed in 1875–76, Swan Lake tells the story of Odette, a princess transformed into a swan by an evil sorcerer's curse. The iconic opening theme, the Black Swan pas de deux, and the achingly beautiful final act are among the most recognisable passages in all of music. Lanchbery draws playing of real sweep and drama from the Philharmonic Orchestra, and his understanding of the score — every rubato, every surge and withdrawal of tension — speaks to a lifetime spent with this repertoire. Another digital recording that sounds far better than you might expect; full-bodied, dynamic, and very much alive.

Note: these are box sets with a glossy red and silver finish that makes proper scanning impossible. The image shown here is not of the box itself, but scanned from the liner notes inside.

Searching for: The third album in this Lanchbery/EMI Tchaikovsky ballet series — The Nutcracker. If you have a copy and are willing to part with it, please get in touch.
Thelma Houston, I've got the music in me Thelma Houston, I've Got the Music in Me (Sheffield Lab, USA). This is already my second copy of this classic Sheffield Lab Direct to Disc recording. It is the original, made from the original stampers based on the cut directly made from the lathe during the studio recording, not the Treasury version that came out later made from the tapes recorded during the session. You can hear everything going on in the studio during the recording. Nothing is filtered. This is how music should be. I found it at a second hand record store for R120.00.

Easily one of the most sought-after D2D pressings of all time and an absolute classic with many who enjoy high-quality music, the music is lively and punchy. I like the reggae-jazz theme most of the songs have. Sheffield Lab sort of loaned Thelma from Motown records for this unforgettable project. The musicians include some highly-experienced session players. Listen for Larry Carlton's unmistakable guitar work and Michael Omartian on keyboards. Look further up the list on the rear of the cover and you find the name of engineer and producer Bill Schnee, a brilliant producer, also known for his work with Steely Dan, with whom he won Grammy awards for Aja and Gaucho.

If you can find a copy, even on the Treasury Series, grab it.
Theuns Jordaan, Roeper Theuns Jordaan, Roeper (Coleske, SA, possibly EU). One of only two Theuns Jordaan albums on vinyl I know of, the other being Tribute to the Poets. Pressed in South Africa, this one cost me R400.00, pre-owned. Great pressing and excellent music. I had to use, of all things, COVID sanitation gel to remove pen markings from the cover to get it looking like new again. I had the pleasure of attending one of his shows a few years ago. We lost a true gentleman the day Theuns passed away.

If you have ever listened to Jordaan's music, on this album "Net Voor die Storm Kom" stands out because it was a commercial hit. But just listen to the last song, Bloutrein. It was written long before his death but somehow sounds like his swansong.

I have found out that the album may have been pressed in South Africa. Nothing is visible in the deadwax that could indicate where it was pressed though. I would be the first to ignore albums made locally, but this one is exceptional. It is clearly about 180 gram, prefectly flat, and has absolutely no surface noise. Kudos for the pressing plant here. Someone has said that this was basically produced from the CD. If this is the case, then so be it. To have it on vinyl is just so special.
The Travelling Wilbury's Volume 1 The Travelling Wilbury's Volume 1 (Warner Brothers, South Africa). I bought on a whim after hearing it played at a vinyl fair. This is great music. It does not require intense listening and is just nice to enjoy. A local Warner Brothers pressing, there is nothing wrong with it. Not sure if it warrants a new copy, but I must look out for its successor.
A Grand Opera Gala A Grand Opera Gala of Great Operatic Ensembles, Various Artists (EMI, UK). I got this from a friend. The album is essentially a "greatest hits" of favourite opera arias and duets. If you are just starting your classical journey, this is a good place to begin. Taken from works such as The Barber of Seville, La Boheme, Carmen, Don Giovanni, and more, you are on a tour of classics. The names Maria Callas and Elizabeth Schwarzkoff may be unknown to a younger generation. I grew up on this.

My copy is old but in perfect condition. This is the real deal, an original analogue recording, released in 1967.
Verdi, Aida, Leontyne Price Giuseppe Verdi, Aida (RCA Red Seal, USA, 3LP). This is one of the most celebrated Aida recordings in the catalogue. Leontyne Price as Aida is simply definitive. With Plácido Domingo, Sherrill Milnes, Grace Bumbry, Ruggero Raimondi, and Hans Sotin, conducted by Erich Leinsdorf with the London Symphony Orchestra and the John Alldis Choir, this is opera on a grand scale. Aida is a story of love and loyalty set against the backdrop of ancient Egypt. The triumphal march and the final tomb scene are unforgettable. The RCA Red Seal three-disc set is presented well and the recording is first class.
Verdi, Il Trovatore, Carreras Giuseppe Verdi, Il Trovatore (Philips, Netherlands, Digital Recording, 3LP). One of Verdi's most beloved and dramatic operas, filled with memorable melodies and intense passion. This Philips digital recording features José Carreras, Katia Ricciarelli, Yuri Masurok, Stefania Toczyska, and Robert Lloyd, with the Orchestra and Chorus of the Royal Opera House, Covent Garden, under Colin Davis. A fine version of a classic opera, well recorded and pressed.
Verdi, La Traviata, Joan Sutherland Giuseppe Verdi, La Traviata (Decca, UK, 3LP). A second traversal of Verdi's beloved tragedy, this time with Joan Sutherland in radiant voice as Violetta — luminous in the coloratura of Act I and deeply affecting in the final act. Carlo Bergonzi is an ardent Alfredo, and Robert Merrill brings authority and warmth to Germont père. John Pritchard draws elegant, deeply felt playing from the Chorus and Orchestra of the Maggio Musicale Fiorentino. A classic Decca production, pressed in the UK across three LPs (six sides), and in absolutely mint condition.
Verdi, Macbeth, Abbado Giuseppe Verdi, Macbeth (Deutsche Grammophon, Germany, 3LP). Verdi's operatic adaptation of Shakespeare's Macbeth is one of his most dramatically intense works. This Deutsche Grammophon recording brings together Shirley Verrett, Piero Cappuccilli, Plácido Domingo, and Nicolai Ghiaurov, with the Coro e Orchestra del Teatro alla Scala under Claudio Abbado. Abbado was one of the great Verdi conductors and his rapport with La Scala was unparalleled. DG's recording is vivid and the pressing of the highest quality.
Verdi, Nabucco, Tito Gobbi Giuseppe Verdi, Nabucco (Decca, UK, 3LP). Nabucco was Verdi's breakthrough opera, and it contains one of the most famous choruses in all of opera: Va, Pensiero – the Chorus of the Hebrew Slaves. This Decca recording features the great Tito Gobbi in the title role, with Elena Suliotis, Carlo Cava, and Bruno Prevedi. The Vienna Opera Orchestra and Chorus are conducted by Lamberto Gardelli. Gobbi's authority and vocal presence make this a recording of real stature.
Verdi, Requiem, Solti Giuseppe Verdi, Requiem (Decca, Germany, 2LP). Verdi's Requiem is as much a dramatic work as it is a sacred one, and this Decca recording under Georg Solti with the Vienna Philharmonic is one of the finest in the catalogue. Joan Sutherland, Marilyn Horne, Luciano Pavarotti, and Martti Talvela form an outstanding quartet of soloists, with the Vienna State Opera Chorus adding further depth. The Dies Irae is thrillingly dramatic. This Decca pressing is beautifully produced. It was manufactured in 1968 by Teldec and sounds as good today as it did back then. My copy is in pristine condition.
Frederica Von Stade, Ravel Shéhérazade Frederica Von Stade, Ravel: Shéhérazade (CBS Mastersound, USA). Von Stade's exquisite mezzo-soprano is ideally suited to the impressionistic colours of Ravel's Shéhérazade song cycle. A hauntingly beautiful recording in every respect, capturing the sensuous poetry of the three songs with grace and refinement.
Wagner, Ride of the Valkyries Richard Wagner, Ride of the Valkyries (EMI, HMV Classics 45 rpm Dynamic Sound series, South Africa). One of the most viscerally exciting pieces in all of orchestral music, the Ride of the Valkyries from Act III of Die Walküre needs no introduction. Wagner composed it as the orchestral prelude to the third act, depicting the Valkyries – warrior maidens – galloping through storm clouds to gather fallen heroes from the battlefield. It is a piece of irresistible momentum and sheer power, and has never lost its impact since its premiere in 1870.

This is a 45 rpm single pressing on the HMV Classics 45 rpm Dynamic Sound series, a line produced by EMI specifically to showcase orchestral music at its most dramatic. The 45 rpm format, with its wider groove spacing and higher stylus velocity, inherently offers advantages in the reproduction of large-scale dynamics and transient detail – precisely what a piece like the Ride of the Valkyries demands. Whether conducted by Furtwangler, Solti, Karajan, or another, these EMI/HMV pressings were aimed squarely at demonstrating what a good turntable and amplifier could do.

This is a South African pressing, locally manufactured under EMI licence.
Wagner, Montserrat Caballé Richard Wagner, Excerpts from Tristan und Isolde, Götterdämmerung, Der Fliegende Holländer, Tannhäuser — Montserrat Caballe´, New York Philharmonic / Zubin Mehta (CBS Masterworks, Digital, USA). A recital disc that places Montserrat Caballé at the centre of four of Wagner’s most demanding soprano roles. Caballé was not primarily known as a Wagnerian – her reputation was built chiefly in the Italian repertoire – yet recordings like this one demonstrated convincingly that her voice, with its extraordinary pianissimo control and tonal purity, brought something distinctive to the German repertoire as well. The excerpts drawn from Tristan und Isolde, Götterdämmerung, Der Fliegende Holländer, and Tannhäuser cover some of the most emotionally intense and technically challenging music Wagner wrote for the soprano voice.

Zubin Mehta and the New York Philharmonic provide a sympathetic and full-bodied accompaniment. Mehta was a conductor who understood the importance of balance in vocal recordings – keeping the orchestral weight present without overwhelming the soloist. The CBS Masterworks digital recording captures both the bloom of Caballé’s voice and the scale of the orchestra with considerable clarity.
Willie Nelson, Always on my Mind Willie Nelson, Always on my mind, (CBS Mastersound, USA) Columbia Mastersound half-speed mastered audiophile pressing in a very good condition. I was not even aware of this edition until one came up for sale. It contains a host of well-known songs covered by one of the best country artists of all time. This was never going to be a top hit, and it was never intended to be. This is just great music, covered by a musician who simply did not have an easy life. Then, we are never guaranteed that life's race would be easy.

Soundwise, this album has little I can find fault with. It may need a bit of scrub/suck and ultrasonic treatment to remove some debris that has accumulated over many years' use. The run-in groove has some noise, but I often hear this with many other records.
Willie Nelson, Stardust Willie Nelson, Stardust, (CBS Mastersound, USA) Columbia Mastersound half-speed mastered audiophile pressing. Some of these pressings sounded great, others not so much. I got this one for only R200.00, in absolute mint condition. Why did I never discover this awesome collection of songs back in the eighties? Maybe I was not ready for it back then. Now I appreciate the laid back style so much more.

I sometimes wonder why I did not collect more of Nelson's albums. "Blue Eyes Crying in the Rain" stands out for me as one of the best examples of an excellent voice with limited instrumentation. Nelson was one of the best country artists ever. Once he is gone, it is almost the end of the old guard. Yet, music moves on and changes with the times. We should embrace this.
Willie Nelson, Tougher Than Leather Willie Nelson, Tougher Than Leather, (CBS Mastersound, USA) Columbia Mastersound half-speed mastered audiophile pressing in a very good condition. Nelson is a special artist. At his current age, he probably does not have too many years ahead of him. On his passing away, his albums are going to soar in value, so getting them while I could was a best investment. I have no intention of selling any of them though. The album cover is embossed and it makes it feel like leather in a way, probably in line with the title.