Recording of October 1972: Lincoln Mayorga & Distinguished Colleagues Vol.II

Lincoln Mayorga: Lincoln Mayorga & Distinguished Colleagues Vol.II
Lincoln Mayorga, arranger, harpsichord, piano.
Lincoln Mayorga, Doug Sax, prods.; Bill Schnee, eng.; Sherwood Sax, design engineer.
Sheffield Lab S-10 (LP).

Ever wonder just how much sound quality is lost by recording stuff on tape before making a disc? Here's your answer. This program of soft rock and cool jazz arrangements was recorded straight from studio to disc, and the sound is incredible! Suddenly, a veil that we never realized was there has been lifted, and we had the feeling we were listening to a direct-wire transmission rather than to a recording. We're not at all sure we will ever feel quite the same again about any. other recording, such is the dramatic difference in transparency and cleanness.

We realize it is impractical even to hope that all recordings in future might be made like this, but God, how we wish it could be so!

This disc isn't cheap, at $7.50, and it is available only from a few record and audio stores (ours came from Music and Sound, Jenkintown, PA), or you can order it directly from Sheffield Records. But it's worth having, if only as a tantalizing glimpse of how good a disc can sound. And we must doff our editorial hat to these 12 intrepid musicians who thought they could play for 20-odd minutes at a time without goofing up at least once, and then managed to pull it off. Oh yes, the program material is very enjoyable, too, which is a nice bonus.—J. Gordon Holt

Ortofan's picture

... go into a hi-fi store and not hear this disc being played.
Every salesman was using it to demonstrate their equipment.
Avid audiophiles owned multiple copies because there were different pressings made from alternate takes during the recording session.

Brent Busch's picture

I think I've managed to acquire all of the versions of this album. SL3-2/SL4-8, SL3-3/SL4-9, and SL3/SL4 seem to be the most common stamper combinations, but there are a few others, like a SL3-3/SL4-10, which I've only seen one copy.

Side A: SL3, SL3-2, SL3-3
Side B: SL4, SL4-8, SL4-8, SL4-10

tonykaz's picture

probably still is, in a way.

It clearly showed us how low quality was the common denominator in all our Vinyl. Sheffield became the Benchmark for Acceptable Quality that pretty much exists to this day.

I think that Sheffield Releases were "Limited Editions", certainly not Mass Produced and Certainly the Best Recordings any Store could have on hand ( including my Esoteric Audio Salon in Michigan ) .

HP at TAS brought the few "Living Presence" series to all our attention around the mid 1980s. god bless him!

Now we have Chad Kassem in Kansas trying to Press Superb Vinyl but Digital has easily exceeded Vinyls limitations.

It's probably far too late to think about reviving this Vintage Format, except for us few committed Old-Timers cherishing pristine antiquities.

Geez, I can still "feel" the thrill of that first hearing of "Sweet Georga Brown" on a LINN LP12 ITTOK ASAK. It was Magical

Tony in Michigan

Bill Leebens's picture

Yes, the records sounded amazing, and props to Doug's memory for that.

And yet, and yet---the release of these records foreshadowed the redundant, repetitive hell that marks many audio shows, where music of marginal content is played over and over and over simply because it sounds good.

I dunno about y'all, but for me, Thelma Houston's "I've Got the Music In Me" in rapid rotation was every bit as annoying as "Keith Don't Go" or any Diana Krall kreation.

WhatEVer. Get off my lawn, you damn kids!!

tonykaz's picture

Quite Right !,
there are a few established "Standards" that people cling to instead of trusting in themselves. They even rely on Reviewer's Product Blessings for purchases.

I remember being at a RMAF Seminar where various people we're commenting on the numbers of different "Dark Side of the Moon" recordings they owned ( as well other artist's re-issues ) .


How many people are there that actually know how a recording is supposed to sound? : Bob Katz, John Atkinson, Kieth Johnson and Recording Engineers but ( probably ) not most of us civilians.

Making musical electronics is an Art Form, Vintage Rock & Roll is a cultural artifact of a Social Group.

Thelma Houston is a walk down memory lane along side our retired peer group.

The Classic Car Group play the same Vintage Hot Rod Songs at every weekly meet ending with the 50/50 drawing, for those that can still enjoy "I get around" and "little deuce coupe".

They give me the Free Senior Drink so I shouldn't be complain'n ( it's better than the Oakwood Cemetery Option )

Tony in Michigan


Taj Mahal released a direct-to-disk many years ago -
Taj Mahal And The International Rhythm Band - Live & Direct.