Donald Fagen, Kamakiriad, MOFI Ultradisc One-Step (45 RPM)
Kamakiriad was Donald Fagen’s second solo album and was originally released in 1993 on the Reprise label. This was also a collaboration with former Steely Dan bandmate Walter Becker, and was recorded long after the Steely Dan breakup in the early 1980s. Becker produced the album, and played both guitar and bass on the recording. The music is based on a science fiction like journey of the narrator in his high-tech, steam powered, and satellite guided dream car called the Kamakiri, which stands for “praying mantis” in Japanese. Kamakiriad also inspired Fagen and Becker to embark on a Steely Dan reunion tour in 1994, which was the first in 20 years.
For this reissue, MOFI gives Kamakiriad the full Ultradisc One-Step treatment. Cut by Krieg Wunderlich, this 45 RPM two LP vinyl box set was pressed on 180 gram vinyl at Fidelity Record Pressing. The cutting process utilizes a PCM digital master, to analog console, to lathe. I continue to be amazed by the high quality of vinyl production that Fidelity provides. Flat and super quiet, these folks know what they are doing. This reissue also includes an impressive hardbound slipcase along with thick inner jacket sleeves for each LP. Gold foil stamping is used throughout. Production will be limited to 4000 numbered copies.
Kamakiriad was never originally released on vinyl in 1993, only on CD. It was finally released on vinyl for the first time in 2017 when it was included in the box set entitled Cheap Xmas: Donald Fagen Complete. Interestingly, this five LP box set has a high selling price of $785 on Discogs and now has several listings in the $1000 range. I do own this box set, and I found the Kamakiriad pressing to be slightly thin and overly bright. The Mofi absolutely kills it. Rich, textured and dynamic with an expansive sound stage, this is the one to own.
The track “Trans-Island Skyway” is the perfect example. Such an advanced combination of jazz, blues, and understated funk harmonies! Fagen’s vocals and all the various instruments explode into your listening room. Percussion galore! I predict that Kamakiriad will be one of the most collectable and most valuable Mofi One-Steps ever. Many will covet this pressing, much like the Mofi One-Steps for Donald Fagen’s own first release The Night Fly, the Bill Evans Trio – Sunday At The Village Vanguard, and the Charles Mingus - Mingus Ah Um. Grab it while you can!
The Allman Brothers, The Allman Brothers At Fillmore East, Vinylphyle (33 RPM)
Released on the Capricorn Records label in 1971, The Allman Brothers At Fillmore East is one of the most iconic live recordings in the history of Rock ‘n’ Roll, and was also one of the most important foundations to the legacy of the Southern Rock genre. Recorded live over three nights in March 1971, it includes several slightly improvised and extended versions of tracks from their first two albums, which greatly helped the band to break through to huge commercial success. Produced by the infamous Tom Dowd, it received Platinum status in sales, and was also selected to be preserved in the Library of Congress by the National Recording Registry in 2004.
The Allman Brothers At Fillmore East has been reissued over and over again by such audiophile labels as Nautilus. Mofi, and Classic Records. I have them all, and they all have their positive and negatives, but my go-to pressing has always been the 1971 OG cut by George Piros and pressed at Monarch. Though not really impressive at either the top or bottom end, I continue to find it to be very lively and energetic. Like many OG's, it has a freshness that can sometimes be difficult to duplicate. Discogs has several copies of all of these pressings listed in the $150 to $250 range. All are extremely collectable if you can find a clean copy.
The Vinylphyle reissue of The Allman Brothers At Fillmore East, was cut by Jeff Powell from a ¼” 15 ips non-dolby master tape, and pressed on two LP's at RTI on 180 gram vinyl. It includes a deluxe tip-on gatefold jacket and an OBI with album and pressing information. It also includes an interesting four-panel insert featuring new liner notes by Scott B. Bomar.
I would never have considered this an audiophile recording, but I am rethinking that description. Musicians and instruments are now locked in with a three dimensionality and pin point imaging like never before. Bass and highs are slightly more extended than the OG, but the mids have a wonderful amount of inner detail and weight that was missing on both the OG and all the various reissues. The track “In Memory of Elizabeth Reed”, is an excellent showcase. It clearly demonstrates an additional level of expression and spirit that will have you instantly more musically engaged. I now have a new go to! Highly, highly recommended!
The Velvet Underground, The Velvet Underground, Vinylphyle (33 RPM)
The Velvet Underground (self-titled), was the group’s third album and was originally released in 1969 on the MGM label. It was the first with Doug Yule on bass and vocals. He also played organ and various other instruments. John Yule replaced original member John Cale. Other band members included Lou Reed on guitar and vocals, Sterling Morrison on guitar and vocals, and Maureen Tucker on drums and vocals. Several retrospective rankings have designated The Velvet Underground as one of the greatest albums of the 1960s. In 2020, Rolling Stone magazine ranked it number 143 on its list of “500 Greatest Albums of All Time”.
I am what some folks might consider a Lou Reed completest. Yet for this title, I only have the year 2000 Polydor reissue, which was cut by David Cheppa, and pressed at Rainbow Records. I do not have the original 1969 pressing. There is much conjecture on the Internet about early pressings that were called “the closet mix”, because they sound like they were recorded in a closet. There is still more discussion about which reissues included a remix by engineer Val Valintin to somewhat resolve this issue. In any case, I always considered the 2000 reissue as a placeholder. Compressed, muddy and with extremely noisy vinyl, I continued to wait. And wait. And wait.
Finally we have something very special with the new Vinylphyle reissue. Like all from this series, it is pressed at RTI on 180 gram vinyl, and it includes a deluxe tip-on gatefold jacket, and an OBI with album and pressing information. Again, it also includes a fantastic four-panel insert featuring new liner notes by Scott B. Bomar. Cut by Joe Nino-Hernes at Sterling, this pressing is nothing less than a revelation. Joe Nino-Hernes continues his excellent track record, as virtually every Vinylphyle reissue that he has supported has been very highly praised. I for one just love his Rhino Records Talking Heads reissues!
With this Vinylphyle reissue of The Velvet Underground, the soundstage has opened up and you can finally get some sense of space and air with each musician and instrument. On the track “I’m Set Free,” vocals by Lou Reed are more clearly defined and seem to float before you. The rhythm section with Maureen Tucker on drums and John Yule on bass cut through the sludge and can now be fully appreciated and enjoyed. If you are a Lou Reed or Velvet Underground fan, or seeking out an opportunity to check out these artists for the first time, run and do not walk to your computer and order this reissue from Vinylphyle!
Beck, Ride Lonesome, Definitive Sound Series One-Step (33 RPM)
It seems that Beck’s Ride Lonesome is the industry’s first newly released title to be offered as both a standard multi-step pressing, and a One-Step pressing. This will provide some interesting marketing data and possibly a new business case for the suits that be. I will be evaluating the Definitive Sound Series (DSS) One-Step pressing in this review. I do not have a standard pressing for comparison. Considered by many as the final step in Beck’s trilogy about lost love and sorrow, Ride Lonesome has a clear bond or connection to Beck’s earlier albums entitled Sea Change (2002), and Morning Phase (2014). With plenty of understated synthesizers as a backdrop, the music can be moody, atmospheric and quite introspective. It may take a few listens to make an emotional connection for the listener, but for me, I was transfixed at the first needle drop.
Congrats to Tom “Grover” Biery and Team DSS for being true industry pioneers and for launching another fantastic One-Step winner! Pressed at RTI on Neotech VR900-D2 180 gram high-definition vinyl, my copy of Ride Lonesome was super flat and super quiet. No clicks, pops or background vinyl noise here. Cut by Levi Seitz at Black Belt Mastering, Ride Lonesome was mastered from 24-bit/96kHz high-resolution original vinyl files. Limited to 3000 numbered copies, this includes a heavyweight tip-on single pocket gatefold jacket and is housed in an elegantly designed heavy weight slipcase.
If you consider all three of the above recordings to be of audiophile sound quality (and I do), you are probably not surprised that all three have also been reissued or issued on audiophile labels. This includes Sea Change on Mofi (2009), Morning Phase on DSS (2025), and now Ride Lonesome on DSS. These last two have not sold out just yet, but the Mofi Sea Change has been long out of print and now sells with a median of $350 and a high of $615 on Discogs. Beyond the amazing music, the sound quality of all three is top-notch and really adds to the level of musical enjoyment and reflection.
The DSS Ride Lonesome is especially mesmerizing. Beck has always been under-rated as a guitarist, and even as a vocalist. On the track “Run Away”, his acoustic guitar and turbulent lyrics just soar through your listening room with so much expression and wonder. As the additional guitars, synthesizers and piano kick in, you virtually sit fully absorbed in the experience. If you are reaching out for some self reflection or a simple pause, you never want it all to end. Sorry for all the drama, but this is absolutely an awe-inspiring release for both performance and sound!
Capital/Definitive Sound Series
Proper Perspective And Caveats
It cannot be overstated that system synergy and personal taste are critical when evaluating high-end audio components and music. These reviews are based on my subjective listening priorities, my specific system configuration, and my specific listening room. This combination is only one data point of many that exist out there for my components and the music that is played. Please consider my comments and analysis appropriately.
Review System
I have included a comprehensive list of all my components and a description of my listening room. Please click on my byline name in red above if this information is needed for reference and comparison.
