Vinyl Review: Tower Of Power – Sheffield Lab 17 – Released 1981
Lab 17. Tower of Power Direct – 1981
Vinyl
Surface noise: 5 (not pops and clicks)
Dynamic Range: 4+
Stereo Imaging: 4
Image depth/perspective: 4
Overall frequency response: 4
CD 17. Tower of Power Direct – 1981
Plastic -CD
Vinyl surface noise: N/A
Dynamic Range: 4
Stereo Imaging: 4
Image depth/perspective: 4
Overall frequency response: 4
Side One
- Fanfare: You Know It
- You’re Gonna Need Me
- Squib Cakes
Side Two
- That’s Why I Sing
- What Is Hip
- Never Let Go Of Love
Recorded: June 22-24, 1981, at the Sheffield Lab Studios at MGM in Culver City, California.
The CD version of this album is from the Audiophile Reference Series. It was created using the original, digital two track reference master session backup tape. It was this tape that was directly transferred to the JVC Compact Disc Master.
When I first purchased this album I had tremendous expectations as to what I was going to hear. This was based on my many earlier Sheffield recordings and with this albums title and art work, my expectations just soared. So it was not suprising that with such high hopes for what I thought would be the pinnicle of vinyl recording, I was a little disappointed. It’s not, that the album is badly recorded, the dynamics are poor or that the musicianship was lacking, I just expected too much!
So what were my issues and which recording did I prefer?
Before a more detailed look at the tracks let me say that my review of this album may well be colored by my expections, even after all these years, and having listened to the album many times. Each time I always feel that the album is a little ‘flat’ lacking in sparkle and impact especially from the often lack luster kit sound and bass line that never digs very deep. This despite excellent dynamics, stereo imaging and a clean open sound stage.
Despite my less than stellar reception of this album, both versions are still excellent examples of the musicians, engineers and each mediums capabilities.
The Vinyl
Surface noise was commendably low and never intrusive or apparent, even during very quiet passages, and as there are only three tracks per side, there was plenty of room for high modulation levels and good dynamics. This never really seemed to be taken advantage of for the kit or bass line. Maybe the generally relaxed kit sound and laid back kick drum was what they wanted but there seemed to be a lack of feeling to drive the tracks forward despite great musicianship and a very tight performance both instrumentally and vocally. Considering it is supposed to be ‘tower of power’ I expected to be pushed to the back of my room and I wasn’t. Generally many of the Sheffield albums provide a real up front presence to the sound, often imparting a feeling that the performance is in my room, but not so here. The drum kit was generally quite recessed with the vocals lacking that sparkle and presence that many other albums have.
The kit, while very well imaged with plenty of detail for the toms, snare and cymbals, was quite recessed on most tracks except S2T2. The bass line again was very clean and tight but never dug very deep, just gently nudging the performance along, rather than driving it. The brass section was strong and clean, with no hard tones, and provided a well detailed performance with the saxophone providing some great breaks and solos like S1T3 and S2T3. Several engaging guitar, organ and trumpet solos can be found on a number of the tracks.
The tracks always sounded open with no apparent emphasis to any part of the spectrum, and the studios reverb and tail out being clearly audible on the kit and other instruments during the quieter passages. Lead vocal and backing vocals were clean and natural, and there were no signs of sibilance or mid range hardness, but lacked that ‘I’m in the room with you’ feeling.
The Plastic (CD)
The most noticeable difference between the vinyl and CD was that the CD levels were at least 8dB lower than the vinyl. I assume that was to ensure that there was no digital clipping or compression. Not an issue for me as I have a huge head room and plenty of gain to spare.
In spite of all the processing that this digitized compact disc has been through, it sounds excellent, and is very close to the original vinyl pressing. It has the added advantage of no surface noise, but just lacks a little, and I MEAN a little, of the dynamics of the vinyl. I am sure that if I was asked to do a double blind test the only real give away would be the vinyl noise.
Besides a slightly reduced dynamic range everything was just a little less edgy and softer than the vinyl, and there was no hint of a ‘digital’ hard sound. There were no obvious differences in stereo imaging or depth perspective with the vocals feeling just a little more recessed than the vinyl.
Comparing vinyl and CD pressings of the same session often results in notable differences, because the two processes are very different, as are the signal processing chains. The myriad of signal processing applied to the production of a CD compared to that of vinyl is, to say the least, huge. The ADC/DAC and mastering differences can really impact the final listening experience, taking it to shores that are well distant to what was actually created in the studio control room. I am happy to say that again, in this case, the transition from vinyl to plastic preserved virtually all of the original intent and studio feel.
Both recordings are very well executed, and I would not hesitate to use either to show what direct to disc, and tape/CD can achieve.
If you can’t get a vinyl copy of this recording, the CD is a very close runner up, and has all the convenience of not having to jump up and turn the vinyl over after only three tracks! Your mileage may vary depending on the quality of your DAC’s and digital clock system.
Purchase vinyl and CDs from Discogs, and CDs from Sheffield Lab.
