The title of this posting says it all. The Rhino High Fidelity Series continues to amaze! These limited numbered edition 33 rpm LP reissues are all pressed on super quiet 180-gram vinyl pressings from Optima in Germany. They offer the coolest high gloss, heavy weight gatefold "tip-on" style jackets and each has a custom designed OBI. Also included with each title is an exclusive illustrated four panel insert that typically provides rare photos, extensive interviews and detailed liner notes. The OBI and inserts are such a nice touch and are a uniquely fun differentiator! Lastly, but most importantly, each title is AAA cut from the original master tapes by Kevin Gray—one of the best mastering engineers in the industry. Simply a first class offering from end to end by Rhino!
For some titles, Rhino has also offered a second un-numbered pressing which are available from both Rhino and in some cases at local record stores. This includes The Doors single title reissues discussed here that were originally offered in the now sold out 2024 The Doors box set. It also includes the ZZ Top single title reissues that were originally offered in the now sold out 2024 ZZ Top box set. When the demand is there, this is a series that keeps on giving!
Many feel that the $39.98 price point for these High Fidelity audiophile reissues is the true sweet spot for vinyl lovers and collectors alike. You get so much quality and value at a price that seems very reasonable! You also have to applaud the title selection. In many cases, Rhino has taken on several unexpected but highly acclaimed albums that have never received the "audiophile treatment" before. New reissues are announced almost monthly with great fanfare. Rhino has always stated that customer feedback and album suggestions for this series are much appreciated. Check out the Rhino website (see link below) for contact information. Proclaim your love for your favorite album!
The Doors, The Doors
The self-titled debut album from The Doors is still the best selling title of all six studio albums. Erotic, controversial and quite influential, I still find it to be extremely haunting and mysterious. Every track is a winner. "Break On Through," "The Crystal Ship," "Back Door Man," and "End of the Night" are highlights for me. Who can ever forget the musical and visual experience during the finale of Francis Ford Coppola's movie Apocalypse Now. "The End" served as an eerie and indelible background to the napalm explosions on the Vietnam battlefield as the movie credits rolled through.
I have three copies for comparison. The 1967 original pressing (33 rpm), the 1992 DCC reissue (33 rpm) and the 2012 Analogue Productions reissue (45 rpm). All have much to offer and all would be a proud addition to any collection.
The original 1967 pressing more than held its own. Engineered by Bruce Botnick and mastered Ray Hagerty, the original master tapes were probably fresher at the time, which affords the listener plenty of dynamic energy and a wonderful level of detail and transparency. For me, this was my go-to copy for many years.
The 1992 DCC reissue mastered by Steve Hoffman and cut by Kevin Gray is an audiophile favorite for many fans, and continues to get raves on several forums and audiophile sites. Powerful and full bodied, I find it to be slightly warm and even dark on some tracks when compared to the OG. However, the overall dynamics are possibly the best of the bunch and are very impressive.
The 2012 reissue from Analogue Productions is an interesting comparison. Mastered by the highly acclaimed Doug Sax, the 45 rpm cut does have its advantages. I found the soundstage to be somewhat wider and deeper. Low end performance was superb with a punch and weight that really added to the music. There is always a discussion on this pressing concerning the quality and providence of the source tape that was used. When cut, the original master tapes were said to be of such poor quality and disarray, that some sort of backup tape was utilized. I could not verify any of this, but I will say that when I made my comparisons, the OG and DCC had a subtle level of transparency and presence over the Analogue Productions. On some tracks, this clearly added to my overall satisfaction and emotional connection to the music.
Bottom line, the Rhino High Fidelity pressing is now my new "go-to." It competes well with many of the above benchmarks in terms of transparency and low end performance. It did not have quite the wide and deep soundstage of the Analogue Productions, but what it did have compared to all the other pressings was a new found level of remarkable lifelike timbre, tone and texture. This was true for all the instruments and specifically the Jim Morrison vocals. There was a nice balance of richness and inner detail at all frequencies that just sounded right. You know it when you hear it! Just more magic from Kevin Gray.
The Doors, L.A. Woman
Released on Electra Records in 1971, L.A. Woman was the sixth studio album recorded by The Doors. Though there was some elements of psychedelic rock and jazz like the earlier albums, L.A. Woman focused more on the blues. Many of the songs were about their individual experiences and relationships during their craziest days while living in Los Angeles. At this stage of their professional careers and their private lives, there was a whole bunch going on including drugs, alcohol and woman—the common list of Rockstar staples. It all came to a dramatic ending only two months after the release of L.A. Woman with the sudden death of Jim Morrison.
For this last studio album, Bruce Botnick was still at the helm as both producer and recording engineer, I found it very interesting that Elvis Presley's bassist Jerry Scheff and rhythm guitarist Marc Benno were both recruited to join in on the recording sessions. It did make a significant difference—especially when the music demanded some sort of bass foundation. This decision not only freed up Robby Krieger on lead guitar, but it also allowed Ray Manzarek to focus less on the bass lines that were traditionally provided by him, and more on the creativity and impact of his piano and organ contributions throughout the album.
Again, we have some of The Doors best-selling singles including "Love her Madly," "L.A. Woman," and of course "Riders on the Storm." My personal favorite is "The WASP (Texas Radio and the Big Beat)," which was a reworking of an original poem written by Jim Morrison. I may have some additional love for the first self-titled album, but there are many many fans who rank L.A. Woman at the top of their favorites list.
From a sound perspective, I have two pressings for comparison. This includes a 1971 original pressing (33 rpm) and a 2012 Analogue Productions reissue (45 rpm). Like the self-titled first album, the OG of L.A. Woman is an is an exceptional pressing. There is a lively sense of openness and immediacy that really jumps out of the speakers. Nothing to get too excited about on the high and low end, but mids were wonderfully natural and detailed.
The Analogue Productions 45 rpm cut by Doug Sax still remains an imposing contender. Big and bold, you get some killer dynamics and an extremely tight and physical muscularity that is very hard to beat. There is also an impressive level of layering and dimensionality that drives the music forward even better than the OG.
At 33 rpm, the new Rhino High Fidelity has its own unique charms. Maybe not as physically imposing as the Analogue Productions 45 rpm, but again we have that fleshed out and harmonically appealing presentation that really pumps up the wow factor. The level of detail and texture is the best of the three. Bottom line. I would call it a draw between the Rhino and the Analogue Productions. I could see either as being your pressing of choice depending on system synergy and personal taste.
Television, Adventure
Released in 1978 on Electra, Adventure was Television's second album after the iconic Marquee Moon, which was released in 1977. Never quite receiving the critical acclaim and attention of their first album, Adventure is a slightly different animal but it is still deserving of much respect if not adulation. Less dramatic but with plenty of hooks and tasty guitar chops, I found Adventure to be highly satisfying and inventive. In fact, as a one two punch, I cannot think of too many bands that had a better beginning to their legacy with their first two albums. Both are important releases and should be strongly considered for every collection! And, both are available as Rhino High Fidelity reissues!
Some folks like to compare Television to the Talking Heads, but I feel strongly that there are very few similarities. Television may not be a true new wave band, but their dual guitar sound was so compelling and rich that they easily stood out from the crowd. Richard Lloyd and Tom Verlaine were a fantastic match as each contributed something different to the mix. Lloyd was more of the scorching technician while Verlaine provided the soulful romantic interludes. Both were extremely talented.
I always think of the Talking Heads as the kings of the African beat with a little funk thrown in. Guitar was important, but the Talking Heads were more about rhythm and percussion. Television seemed much more adventurous and unsettled. Either way, both bands came from a remarkable era and both left us an incredible cannon of music.
I do not have an original pressing of Adventure, but I do have a copy of the 2019 Rhino "Start Your Year Off Right" reissue on 140 gram red vinyl. Mastered by Joe Brescio, this pressing is fairly quiet with good dynamics and excellent balance. This is a nice pressing and showcases the music well, but the new Rhino High Fidelity takes a major step forward for sound quality. We now have additional weight and bloom in both the mids and the low end. Guitars stand out with more expression and air around each instrument. Bass and drums have been unleashed with additional attack and visceral impact. Kevin Gray has waved his magic wand once again!
The Faces, Ooh La La
Ooh La La was the fourth and final album by Faces. Released in 1973 on the Warner Brothers label, Ooh La La was a fitting finale to one of the finest English bands ever. Over shadowed by the ever evolving solo career of Rod Stewart, Faces was another of those bands that never got the respect and record sales that was probably deserved. My goodness, in addition to Rod Stewart on most of the vocals, we also have an all star lineup that includes Ronnie Wood on lead guitar, Ronnie Lane on bass and rhythm guitar, Kenney Jones on drums, and Ian McLagan on piano and organ. Add Glyn Johns on production and engineering, and you have something very special indeed.
Whether it be Faces or Rod Stewart taking the headliner position on the album cover, my "go-to" for this group of musicians will always be Every Picture Tells A Story. The title track is one of my favorites of all time as the vocals, guitar solos and especially the Kenny Jones drum solo is as good as it gets! Just slightly behind that, I would equally rank Gasoline Alley, A Nod Is As Good As A Wink … To A Blind Horse, and Never A Dull Moment. For whatever reason, I was unfamiliar with Ooh La La and I didn't have a LP copy on hand. This surprised some of my audio buds, as several consider Ooh La La the best of the bunch and somewhat of a unheralded treasure.
I was quickly rescued and sent an original 1973 UK pressing that I then used for comparison. There is some disagreement on the Internet about what OG is better—the USA or the UK. I would be curious what our readers might think. In any case, the UK was delightful. Glyn Johns is a master when it comes to sound quality and rock n' roll. Rod's vocals were nicely presented with that raspy throaty delivery that we all know well. Guitars thrashed about with plenty of proper musical chaos and dynamic flair. Kenny Jones on drums had that familiar bite and jump factor. Despite the somewhat noisy vinyl (unfortunately a common issue at that time), all in all, this is a very satisfying rendition!
Again, the Rhino High Fidelity brings out the detail and harmonic brilliance that you might never have known was buried in the master tape. Case in point. The slower more romantic ballads on side 2 are my favorite songs on the album. This includes three different lead singers with Rod Stewart on "If I'm On The Late Side," Ronnie Lane on "Glad and Sorry," and Ronnie Wood on "Ooh La La." All three voices are now so much more distinct and palpable. The piano with Ian McLagan on keys now has a lovely sense of proper timbre and lifelike presence that is not always easy to find on most Rock recordings. All in all, the Rhino High Fidelity checks the boxes on so many more important variables than the UK OG. A fantastic new musical find for me—both the album and this new reissue!
Proper Perspective
It cannot be overstated that system synergy and personal taste are critical when evaluating high-end audio products and music. This review is based on my subjective requirements, my subjective ears, my specific system configuration, and my specific listening room. This combination is only one data point of many that exist out there for these 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 name in red above if this information is needed for reference and comparison purposes.
Rhino Records
