To me, that means they’re both right; it’s just a question
of whether you want a record that sounds good to you, or something authentic?
If you want something that will probably sound good to most
people, Vinyl Me, Please reissued this album in 2021. While the ERC edition
cost about $500 and is sold out, you can still get the VMP for under $70 (it only recently sold out). And the
VMP sounds excellent because they (digitally) addressed some of the tape issues
that Fremer elaborates on. It also looks cooler (green vinyl with a white
promo-style label), has a very nicely done jacket (on ridiculously heavy stock),
recreates the original inner sleeve (which ERC also did), and includes a re-created
French EP!
This does raise issues around what a reissue should be. I’ve
seen this hashed out since the 1980s: should a reissue 1) reflect the highest
possible fidelity, or 2) reflect what the very first pressing sounded like, or
3) what the artist INTENDED things to sound like?
So, is the VMP what the Doors wanted it to sound like (had
technology allowed) in 1967? If Bruce Botnick is endorsing it (as Fremer points
out), I think that’s good enough. And clearly they — or Elektra -- weren’t
happy with the mono back in ‘67.
But ERC’s selling point is originality, and that’s fine for
some listeners, too.
If all this seems confusing, consider the very first UK
pressings of The Beatles’ “Rubber Soul” (“loud cut”) and “Revolver” (with the
wrong mix of “Tomorrow Never Knows”). By all accounts, neither is what the group
wanted, nor is “Rubber Soul” of the highest possible fidelity. And that’s why
they weren’t recreated or used as reference for the 2014 mono box. Yet there
are plenty of people who seek them out and would pay handsomely for an ERC-like
recreation.
My review of the VMP version:
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