The DISCO Era! Come On, You Know You Liked It!

[soulster]

Well, that interesting.

I have never heard the entire album, so I looked to see if I could download it and found in on Amazon. I sampled it and it sounded bad. Then, I looked around and found out why:
http://www.discomusic.com/forums/sho...636#post169636

I'll just look for the vinyl LP.

[gordy_hunk]

[QUOTE=soulster;17074]Well, that interesting.

I have never heard the entire album, so I looked to see if I could download it and found in on Amazon. I sampled it and it sounded bad. Then, I looked around and found out why:
http://www.discomusic.com/forums/sho...636#post169636

I'm sure you also read the reply from the label manager Wayne Dickson, which I am copying here. If Tom Moulton is happy with the finished product, then I most definitely am:

"Gentlemen,
Allow me to introduce myself. My name is Wayne Dickson. I am label manager for Big Break Records here in the UK. Tom Moulton alerted me to this thread and I felt I should drop a note to you all here.

First of all, the facts.

We take the sound quality of all of our releases very seriously indeed. Personally, there is nothing that disappoints me more than bad sound quality on a CD so when we were fortunate enough to obtain the rights to release the first two Gloria Gaynor, we set about making sure that we did the best job possible. The original tapes were sourced from Universal in New York and were then restored and remastered by Kevin Reeves, who we requested personally. I supervised the mastering and made sure the end results were to my satisfaction. Tracks 9 & 10 [[The Columbia Singles) were only available from copy masters that were in bad condition. It was my decision to include them despite their limitations and I am very glad I did.

As some of you may know, music recorded during this period was often produced and mixed to fit the vinyl format. This means that the sound on the actual master tape does not always reflect the producer's aim for how the music would sound on vinyl. Further compression techniques would be implemented at the pressing stage. Our aim here was to provide a fitting representation of these classic albums in a digital format.

Now, opinions.

We are very happy with the finished results and are glad to report that almost all of the feedback we have received though our email address and Facebook site, as well as an email from Tom Moulton himself, backs our own opinions up. We do realise that everyone is entitled to their view and are very happy for them to express it. My only problem is when Audiophiles start to present their opinions as fact. I would invite anyone who is interested in this music to make up their own mind and not be influenced or dictated to by others.

Please make sure when any of you send out a "warning" to other potential buyers that may lead to them avoiding a product that you include another "warning" about the demise of CD sales that makes it more likely that there will be less future releases for them to listen to and make up their own mind about. I would also like to add that suggesting that Tom Moulton's masterpieces be remixed would result in a remix album rather than the original. Surely this should not be our aim. I appreciate the positive comments made on the mastering of our other releases. These opinions are also noted and appreciated.

I hope this clears up any questions anyone still may have on the product. Please be in no doubt that we always aim to deliver the best product.

Thank you,
Wayne A. Dickson,
Label Manager, BBR [[Big Break Records)".