Taking stock – a quick tour of the ‘Rhino’ story so far
Before I dive into Super Fly, I feel like I need to take a moment to say what a total revelation the Rhino High Fidelity Reel-to-Reel series is turning out to be!
I have all five of their tape releases so far, and I’ve got three more on order – and I’m kind of pinching myself each time.
The thing is, when I first started doing this ‘R2R Rambler’ website / blog back in 2018, the idea was to spread the word about tape to a small niche audience. At the same time I had a dream – in my fantasy world I imagined myself, and others like me, somehow being able to to encourage recording studios and artists to make more pure analogue recordings… for record companies and labels to put out tape releases… for hi-fi electronics manufacturers to develop brand new tape machines… and for tape engineers not to retire, but to teach their young apprentices about the joys and intricacies of tape recorder maintenance and restoration. Then a voice inside would say ‘get real’ (don’t you just love those voices…).
So I’m taking a moment to stick it to the ‘get real’ voice and give a big shout out to all of us tape lovers out there who, by force of loving tape unapologetically, by force of writing and reading and talking about it, and by force of investing our time, energy and money into what few offerings were initially available – well, look what we have now eh!
The crowning achievement has to be one of the ‘big three’ record majors embracing reel-to-reel tape and launching a series of classic albums on reel-to-reel tape – in other words, the Warner Music Group’s launch of their own series of one-to-one 15ips 2-track open reel master tape copies under the brand Rhino High Fidelity Reel to Reel.
After the first two releases, The Yes Album and T-Rex’s Electric Warrior in October 2025, there was something of a wait… then in April this year we had the release of The Grateful Dead’s Workingman’s Dead, and then just over a month later in May, Curtis Mayfield’s Super Fly and perhaps the most unexpected release so far: The Stooges’ Fun House. All of these are now sitting on my tape shelf, and are staggeringly good; everything one could have hoped for. But wait, there’s still more: two titles announced last week are already on their way: the 1975 self-titled Fleetwood Mac album and ZZ Top’s debut Tres Hombres. These are phenomenal titles, but it doesn’t stop there: my pre-order is already in to make absolutely 100% certain that I get a copy of Joni Mitchell’s masterpiece Blue, which is scheduled for release on July 10th.
So, Rhino have absolutely pulled out all the stops and are going full steam ahead! And the price of these reel-to-reel masterpieces? Just $300, that’s around £225 in the UK, surely an absolute bargain by anyone’s reckoning. Without any doubt, this is the best news for tape lovers, and quite possibly the best reason there’s ever been to invest in a tape player!
Curtis Mayfield – Super Fly
So, let’s get down to Rhino release number five: Curtis Mayfield’s soul funk smash: Super Fly – the 1972 cult hit movie soundtrack classic that fuses elements of soul and funk into a magnificent orchestrated spectacular. For many hi-fi shops this album has been a demonstration material stalwart for more than half a century!
I was pretty certain I had a copy hiding somewhere in my vinyl collection but having searched for longer than I care to admit, I concluded that either I’d sold it (unlikely), lost it (possible), or perhaps even just imagined that I’d ever bought it (no comment). So, by way of reparation, I hunted down an original copy to use as a reference. Surprisingly, they’re not that common these days and I had to pay over £40 for a very good – but not perfect – 1972 Buddha Records UK original.
Alongside the tape release, Rhino have also released an AAA Kevin Gray cut pure analogue vinyl version in their Rhino High Fidelity series. This seems to be Rhino’s standard practice now and most of the Rhino Reel to Reels are also available as pure all-analogue Kevin Gray cut vinyl releases, also at a very reasonable price (the Rhino vinyl Superfly cost me just £30 plus postage).
The 1972 original (UK Buddha Records)
Before I get into the tape, let’s start by establishing a reference point: that 1972 original.
If you’re not familiar with the album, the band are:
- Curtis Mayfield – vocals & guitar
- Craig McMullen – guitar
- Phil Upchurch – guitar
- Joseph “Lucky” Scott – bass
- Master Henry Gibson – percussion (congas, bongos)
- Morris Jennings – drums (all tracks except ‘Pusherman’)
- Tyrone McCullen – drums (‘Pusherman’)
Actually, if you’re not familiar with the album, you really are missing out – maybe check it out online before reading this any further – stream it on whatever platform you prefer and let the utterly infectious funk soul groove get under your skin!
The album’s opener, ‘Little Child Running Wild’ is immensely catchy and dripping with 1970s funk coolness. The composition and arrangement are off-the-planet amazing: drums, electric guitars, bass, and electric organ, a horn and a string section – and I’m pretty sure there’s a harp and some woodwind in there too. Eclipsing it all, though, is the percussion, which sounds like it truly could have come from outer space! It is a blindingly heady mix that when handled appropriately will reach parts of you that you didn’t even know you possessed.
However, there’s one slight caveat which I have to call right from the go-get: at times all this energy verges on edginess. It’s not what you’d call a non-fatiguing listen. Not quite fingernails-on-blackboard either, but you get what I mean.
In terms of a critical evaluation, on the original 1972 pressing, right from the off the organ sounds a little screechy, verging towards the sound of cutting glass. There’s a slight sibilance on Mayfield’s sublime falsetto vocal too. But oh boy, it’s such a beautiful groove that this doesn’t spoil the enjoyment. The bass is full, fat and round, and although it’s not that deep, it has gloriously tight and twangy leading edges, and is as funky as anything you’ll hear. There are even plucked strings (violins I assume?) which are a wonderfully interesting element. This is like classical meets funk, meets soul, meets 70s cop drama!
What comes next, track 2, is sonically quite a contrast. ‘Pusherman’ was recorded at Bell Sound Studios New York, whereas the rest of the album was recorded at the RCA studios in Chicago. Whatever slight grievances I may have with the album’s tendency towards harshness or sibilance, ‘Pusherman’ sounds freakin’ amazing! There’s that tuneful but fat bass, wonderful reverberant percussion with bongos, toms and congas coming at you from across the soundstage like cosmic fireworks coming out of the night sky. The drums have great feel with a weighty kick and snappy snare. A funk-tastic rhythm guitar together with a Mayfield’s own creamy guitar licks pretty much complete the picture beneath Mayfield’s sweet falsetto vocal. Honestly, this track is magical. And the sibilance is barely there on this one – at least nothing compared to the rest of the original album.
Without going through the whole album track by track, I’ll just point out that the remainder, all recorded at RCA studios in Chicago, shares that slightly edgy sound of the opener. So yes, it ain’t perfect, but that doesn’t stop this album still being one of the grooviest, most captivating, enjoyable albums out there!
Rhino High Fidelity’s Kevin Gray AAA vinyl
Sticking with vinyl for now, let’s move on to Rhino’s new release. As soon as the stylus drops into the groove of ‘Little Child Running Wild’, it’s immediately apparent that there’s a significant improvement in the space and air in the soundstage. The percussion in particular is even more dynamic and holographic. The electric rhythm guitar is further back in the soundstage and yet much more defined. The horns have more ambiance and space around them, and the rear of the studio becomes defined by the reflections, which greatly increases the realism of the whole recording.
The organ still screeches a little, but it’s far more focussed so isn’t as off-putting by virtue of being more defined. You could liken the effect to cleaning a misted-up windscreen. The misty screen just blurs the sun obliterating everything in your field of vision, whereas with a clear screen, provided you don’t look directly into the sun, you can see far more clearly.
The strings are sweeter and more detailed, with a more string-like timbre. The violin string-plucks are much better defined. In fact, as you go through the album you’ll likely notice many tiny elements that had previously completely passed you by.
Overall, the sound is far more open and expressive. Improved micro-dynamics give more emotion and feeling, more intricacies to the astonishingly complex mix. The interplay between elements makes more sense too, so the music quite simply becomes easier to understand and more enjoyable. There’s a more balanced ‘conversation’ going on between horns, strings, and guitar. It’s without doubt much better than the already enjoyable original. Bass almost pops with impact: the increased depth, weight and tunefulness prove that this is a supreme example of mastering by Kevin Gray. Whilst it’s not a perfect recording (and never will be, due to the nature of the original), this is the best I’ve heard Super Fly by a country mile.
‘Pusherman’ perhaps doesn’t stand out from the other tracks quite as much as it does on the original. That’s not to say it’s not better – it is. But what Kevin Gray has done is to make the best of where this album is best, and to lend a helping hand where it’s needed. So ‘Pusherman’ really didn’t need much additional mastering. However, there are still improvements to be heard: deeper bass, more body, weight and colour to everything. The drums are supremely weighted and the percussion, retaining its pyrotechnical quality, also gains body and weight and a more natural timbre. The superb rhythm guitar has much better feeling, texture and timbre. And Mayfield’s vocal is simply beautiful. Curtis’ guitar licks are as creamy as silk. The flow and pace of the song is spectacular.
Frankly the Rhino High Fidelity release is worth getting for this track alone, but as I already said, this was the best sounding track on the original anyway. The improvements on other tracks are even more significant…
Oh and I gotta mention ‘Freddie’s Dead’, which starts with a very Zappa-esque groove, and a big, big swagger. The Rhino version is weightier and more rounded than the original. The soundstage is notably clearer and airier, horns more defined. That annoying vocal sibilance is much reduced and the strings are nowhere near as screechy. The improved bass weight and definition helps the propulsive swing of the songs. The harp? Well, I’m not sure I’d even noticed a harp on the original release. Going back to it, it is there, but until hearing it on the Kevin Gray cut, I just hadn’t registered it…
Overall, the Rhino vinyl has much improved spaciousness, timbral reality, bass depth, weight and pitching. The whole has more solidity. And that tendency towards screechy sibilance has been deftly tamed. If you’re not in the market for the tape, this Rhino High Fidelity Kevin Gray cut audiophile vinyl is quite simply, the essential version of this album.
Rhino High Fidelity Reel-to-Reel
One of the things I love about the Rhino High Fidelity releases, whether the superb AAA vinyl versions or the ultimate 1-1 master tape copies, is the provenance. This release of Super Fly is sourced from the 1979 Kendun Recorders Inc. master by Kendun engineer Joe Gastwirt. The documentation that comes with the tape includes photos of the actual source tape: a NAB, Dolby A, EQ’d copy master. The journey of how this unique treasure gets into your hands is: first of all, two 1-1 Dolby-decoded tape copies are made from the original source master. Next, these two Dolby-decoded master copies are sent to Recording the Masters in France where a custom duplication system records five copies for every play of these ‘interim’ masters. That means, for a limited run of 350 copies, as were made of Super Fly, each of those two ‘interim’ masters were played just 35 times. This ensures every single customer gets a fresh, second generation copy of that hallowed Kendun master. Make no mistake, these tapes are super-precious and will become sought-after collector’s items in no time!
Still, the real enjoyment, the real value, comes only when you play them…
As soon as the red leader tape has passed by the repro head, the opening bars of ‘Little Child Running Wild’ explode from my speakers. That ‘master tape’ difference is immediately obvious: even compared to the excellent Rhino High Fidelity vinyl, the sound here is huge, with a rock-solid weight and tremendous substance.
There are a few key traits to this music that make this album the absolute killer that it is. The percussion is without doubt one of them. Every track races along driven by the impossibly fast and agile percussive rhythms: Henry Gibson’s conga and bongo playing is electrifying! The dynamic intensity coupled with timbral naturalness portrayed via this tape is breathtaking. I found it impossible to stop myself frenetically ‘air drumming’ (be wary of bruised thighs syndrome!).
Then there’s the weight of the drum kit itself. The kick drum has tremendous depth and body and provides the foundation above which the rest of the mix weaves and dances, like a flock of swifts scything through the air.
The horns are vividly lit, and the funk-fuelled rhythm guitar adds an intense momentum. It feels like being on a running machine: you’re on this ride and it ain’t gonna stop! Complete and total immersion.
The organ still gets very close to the edge, and Mayfield’s falsetto vocal still burns bright – but it doesn’t obliterate everything with its brightness. Sure, the organ still screeches with organ-tastic energy, but it kinda fits. It slices through the air with power and passion, like in a spiritualist anthem. Here, the high energy doesn’t feel out of place.
The weight and texture of the drums is really phenomenal. The percussion possesses an incredibly real timbre and the bass has botton-of-the-ocean depth and an immensely funky twang.
The space between every element makes this complex mix easier again to understand. And the power, weight and natural timbres combined with unbridled dynamics make this one of the funkiest listens out there. This is a hot recording of one hell of a session! And this tape as is close as you can get to it…
And then you get to ‘Pusherman’ – holy freakin’ moly! The bass is so solid, so deep, tuneful and funky. The guitar is so defined, so creamy. The drums, especially the kick drum, has tremendous depth and weight to it. It’s not overpowering but it sounds genuinely real, with truly accurate weight and spot-on timbral authenticity. The percussion of bongos and congas is awash with ambiance and utterly captivating. Everything has a believable space around it, it doesn’t exist in an unrealistic void. The air and energy of the performance seem to buzz and burn in front of you.
And then ‘Freddie’s Dead’, which returns to the RCA studio recorded remainder of the album, and which skirts rather close to too bright in the original format… now we have the Zappa-esque intro with wah-wah guitars, an intensely funky bass groove, strings and percussion exploding from left, right, centre, fore and aft – all of which is phenomenal. The soundstage is enormous and dynamically alive. Strings and horns scream with exaltation, everything feels on fire! The tape doesn’t hide the brightness but neither does it allow it to glare and overshadow all around it. You get the full spectrum of light: dynamic explosiveness, uncurtailed by the softening of remastering or excessive de’s’ing.
The soundstage remains enormous, just as with ‘Pusherman.’ And the rest of album continues in pretty much the same enormous scale, passion and presence. It’s intensely groovy.
Pure analogue original – warts ‘n’ all
As we get to the final track, the title track ‘Super Fly’, there’s a note on the supplied insert that says: “Near the end of the last track, “Super Fly”, the volume drops slightly for about three seconds on the left channel during one of the “Trying to get over” verses. This was on the master and is not a flaw on your copy.”
I read this before I first played the tape and so, on listening (over and over to that part of the track, to be pedantic!), I was pleasantly surprised. I’ve experienced tape drop-outs before and was fearing that this would be a few seconds of complete silence in the left channel. However, in this case the sound doesn’t alter other than, as described, it simply lowers in volume just a couple of decibels in the left channel, for a very short duration. In fact, it doesn’t in any way scupper the flow or immersiveness of the music. It sounds a little like Curtis has turned his head away from the microphone to face his left (your right). It’s no more than that.
I also checked this on the Rhino vinyl: it’s not apparent there at all, which demonstrates just how deftly Kevin Gray has cast his mastering magic over this album. Would I rather they used Kevin’s ‘fixed’ master? Not really, because having searched out and critically evaluated the flaw many times (like I said – pedantic!), each time I go back to ‘just listening’ to the whole tape, by the time I get to the final track I’m so darned immersed in the music I completely fail to notice the ‘flaw’.
For those of you keen to make up your own minds on this, it is around 3 minutes 27 seconds into the title track ‘Super Fly’. You’ll easily hear it when listening in isolation, but believe me, it doesn’t detract from the wonderment of this fabulous tape one bit!
In conclusion, the Rhino High Fidelity releases, both AAA vinyl and R2R, are must-haves in my view. The music lives, breathes, leaps and explodes with energy and with a to-die-for funkiness that this album has always really deserved. I bought both and I’m keeping both.
You can get your own here:
Vinyl https://store.rhino.com/products/superfly-rhino-high-fidelity
Tape https://store.rhino.com/products/superfly-rhino-high-fidelity-r2r
(For UK/Europe readers, there’s also a UK webstore at https://store.rhino.com/en-gb/collections/rhino-high-fidelity but it’s showing as sold out, so head to the worldwide web store links above
Some more rambling on video here:
Dave Denyer: The Reel-to-Reel Rambler 