Yes I have that one and it's one of my cherished pressings. But yes same, I kept the least noisy. They all were pressed pretty terribly.@Mather do you have the KPG cut of Jeff Buckely - Grace? I had the same issue with that one. Tried multiple noisey copies because the master is just so amazing, ended up keeping the one with least noise but it's still not perfect. I believe that was a MRP press as well
I had a KPG pressing of Grace but PIF’d it in favor of my much less noisy MOV pressing. As good as the KPG was cut that album is too delicate to withstand so much static.@Mather do you have the KPG cut of Jeff Buckley - Grace? I had the same issue with that one. Tried multiple noisey copies because the master is just so amazing, ended up keeping the one with least noise but it's still not perfect. I believe that was a MRP press as well
Agreed. Thankfully after... MANY copies I was able to get a pretty much clean KPG, it's got a few pops but nothing egregious. The real Buckley gem pressing is that "Live at Sin-é" box. immaculate master and pressing.
www.discogs.com
I have the record industry, but I went through like 4 of them and they were all pressed badly, pops and noise throughout. Not the norm for that plant.Do you guys know which version you had of Grace? There was one pressed at RTI - and one pressed at Record Industry.
I have the Record Industry and don't remember having issues with it, but it's been a while.
Record Industry
Jeff Buckley - Grace
View credits, reviews, tracks and shop for the 2010 Vinyl release of "Grace" on Discogs.
RTI
I have the 2015 “Legacy Vinyl” that was pressed at Record Industry. It’s not cut by Kevin Gray. They reuse the MOV plates and it’s pressed really well but it’s not as dynamic as the KPG cut.Do you guys know which version you had of Grace? There was one pressed at RTI - and one pressed at Record Industry.
I have the Record Industry and don't remember having issues with it, but it's been a while.
Record Industry
Jeff Buckley - Grace
View credits, reviews, tracks and shop for the 2010 Vinyl release of "Grace" on Discogs.
RTI
Yeah like I have no idea what the problems were but it was by far the most inconsistent pressing job I've ever had from them. They're usually very solid.
In my attempts to find a clean one I think I only ever came across the RI. But also at the time the RI was still in wide release so it was easier to find. I didn't buy anything though cogs. But with the barcode being shared by like 7 different pressings from all different plates and plants I'm willing to bet most of those listed on cogs as KPG RTI actually aren't.
Great interview. Alan Licht who interviewed Verlaine is a musician as well. I highly recommend his band Run On. They had a couple of records on MatadorSomeone dug up this interview on the Marquee Moon recording.
Pushed me to order it now.Tom Verlaine: Recording and Other Things
From Alan Licht’s Common Tones: Selected Interviews with Artists and Musicians 1995–2020 (2021).www.blankforms.org
I am jelly on cool music stories I guess
*****************************
AL: You produced all your own records, right?
TV: Yeah—I mean, in the early days, on Marquee Moon, I didn’t even know what a producer did. I started listening to records and I didn’t know what an engineer did as opposed to this or that, and Fred Smith again played me some Rolling Stones and Led Zeppelin—there was this key pile of records that all seemed to be done by Andy Johns. I thought, “Well, we don’t sound like any of these people, but I guess these are good-sounding records” [laughs], “so let’s get that guy.” We somehow found him in his apartment, he was living in LA, and he was a real riot—“How the hell did you find me? What do you want me to do?” [Laughs.] He said, “Well, OK, I’m not doing anything around Christmas—I’ll come to New York.” He had no clue what we were doing. He also had an enormous appetite for alcohol; the first night it was two large bottles of wine and a case of beer. He came in with this under his arm, a shopping bag with wine and a huge case of beer [laughs]. We were playing within two hours—he was really fast. And he would pull me out in the hall: “What kind of music is this? Is this a Velvet Underground trip? What is this, is this New York subway music?” So that went on for about ten days, and then he said, “Well, I guess you don’t really need me, I’m going back to LA tomorrow.” So we did the overdubs with the tape-op guy, who was actually a decent engineer, and then we had to beg him to come back to mix it. He came back right around New Year’s to mix it, and suddenly, I guess, he heard what we were doing or he had an ear for it, and he said, “Ah, I see what this is, I see what this is.” He became really enthusiastic in mixing it. It turned out well. It was probably one of the five oldest studios still working in New York at the time. It had a board with tubes, with the valves, which gave it a kind of sound. And there was no equalization on the board, and there were no compressors, so it was this very basic kind of thing, which he was really mad about when he saw it—he thought, “What are you working on here, a World War II recording desk?” [Laughs.] “This is crazy.” It was at A & R, a room that Phil Ramone had built for himself, so they didn’t rent it out much. I think Dionne Warwick records were made there. It wasn’t a giant, spacious place but it did have a nice sound. The reason I liked it was that it looked like our rehearsal loft—it was a bit sloppy and not gigantic, but easy to work in
I wonder how that Rhino Crossings compares to the Speakers Corner KPG Pallas pressing.
Add me to this list. I'll say I am happily finished seeking the best version at this point. I am playing it at maximum volume (my poor neighbors but I get to hear their kids at all hours so I don't care
)
And the Classics was $20 cheaper?
